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♪
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00:00:04,160 --> 00:00:07,223
>>> HELLO FROM HOLLYWOOD.
YOU'RE LOOKING AT A LIVE SHOT OF
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THE MOST FAMOUS ARRIVALS CARPET
IN THE WORLD, AND IN JUST A FEW
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00:00:11,160 --> 00:00:14,530
HOURS, THE BIGGEST STARS ON THE
PLANET WILL BE HERE ALL DRESSED
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00:00:14,530 --> 00:00:19,569
TO IMPRESS AND CELEBRATE THE
BEST IN MFILM.
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>> IT IS OSCAR SUNDAY, AS WE
COUNT DOWN TO THE 95th ANNUAL
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ACADEMY AWARDS.
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>> THIS IS AN ABC NEWS SPECIAL.
RIGHT NOW, OSCAR SUNDAY HAS
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ARRIVED.
IT'S THE MOST IMPORTANT DAY IN
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HOLLYWOOD, AND THE STARS ARE
ALMOST HERE.
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00:00:39,622 --> 00:00:41,424
YOUR FAVORITES ARE BACK.
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>> YOU GUYS! OH, MY GOSH.
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>> AND SO IS THE MOST FAMOUS RED
CARPET IN THE WORLD.
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00:00:46,529 --> 00:00:48,464
⎣> LOOK AT ME NOW. I DID IT.
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>> IN JUST A FEW HOURS, THE
BIGGEST MOVIE STARS ON THE
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00:00:54,170 --> 00:00:57,206
PLANET WILL BE HERE TO CELEBRATE
THE BEST IN FILM.
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>> I'M SO HAPPY RIGHT NOW, I
COULD CRY.
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>> WHO WILL TAKE HOME OSCAR
GOLD?
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>> WHAT IS THIS?
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00:01:02,512 --> 00:01:07,483
>> AND WHAT WILL SURPRISE THOSE
WATCHING AROUND THE GLOBE?
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>> THAT WAS A -- THE GREATEST
NIGHT IN THE HISTORY OF
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TELEVISION.
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>> JIMMY KIMMEL IS BACK.
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>> I HAVE A STOPWATCH.
THE MOMENT YOU ARE HANDED THAT
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OSCAR, THE CLOCK WILL START
TICKING.
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SO GET UP HERE, GRAB IT, AND GO.
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>> WE ARE BRINGING YOU
EVERYTHING YOU NEED TO KNOW TO
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GET READY FOR THE BIG SHOW.
INTERVIEWS WITH TONIGHT'S BIG
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00:01:27,470 --> 00:01:27,603
NOMINEES.
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>> OKAY, IS THIS YOUR GO-TO
FIRST QUESTION?
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>> HERE WE ARE.
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>> I CANNOT BELIEVE I'M AN OSCAR
NOMINATED ACTOR.
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>> PLUS, WE OPEN THE VAULT TO
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BRING YOU THE RARELY SEEN EARLY
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PERFORMANCES, AND THE LOOKS THAT
WILL DAZZLE, AS HOLLYWOOD SHINES
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FOR THE CAMERAS.
THIS IS YOUR OFFICIAL COUNTDOWN
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TO THE 95th OSCARS.
AND IT BEGINS RIGHT NOW, RIGHT
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HERE ON ABC.
HERE NOW, LINSEY DAVIS AND WHIT
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JOHNSON.
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♪
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>>> AND GREETINGS FROM THE DOLBY
THEATRE HERE IN HOLLYWOOD.
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IT MAY SOUND A LITTLE CLICHE,
BUT I THINK IT'S TRUE, THAT YOU
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CAN JUST FEEL THE EXCITEMENT AND
ANTICIPATION GROWING ALREADY,
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00:02:18,254 --> 00:02:19,655
LEADING UP TO TONIGHT'S
FESTIVITIES.
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>> THERE'S A BUZZ IN THE AIR,
THE ACTIVITIES HAPPENING, PEOPLE
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ARE COMING THROUGH.
AND BY TONIGHT, ACTUALLY, WE
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00:02:26,329 --> 00:02:28,731
MEAN THIS AFTERNOON HERE IN LOS
ANGELES, THE NOMINEES,
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PRESENTERS, AND THEIR GUESTS
WILL MAKE THEIR WAY DOWN THIS
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00:02:31,734 --> 00:02:34,704
STORIED CARPET STARTING AROUND
2:00 P. M. LOCAL TIME.
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MOTHER NATURE SO FAR APPEARS TO
BE COOPERATING.
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WE HAVE THE UNUSUALLY RAINY,
COLD TEMPERATURES IN CALIFORNIA.
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THE RECENT SNOWFALL JUST A FEW
MILES HERE.
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THE ACADEMY WAS PREPARED FOR
SOMETHING, WITH A COVERED
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CARPETS ARRIVAL.
BUT TODAY IT'S DRY WITH
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TEMPERATURES IN THE 60s.
THE STARS WILL BE SHINING BRIGHT
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AND WILL BE COMFORTABLE AS THEY
MAKE THEIR WAY OUT OF THEIR CARS
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AND DOWN THIS CARPET.
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>> THE STARS CERTAINLY ALIGNED
WEATHER-WISE AT LEAST.
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WE SHOULD TAKE A CLOSER LOOK AT
THAT FAMOUS CARPET, USUALLY A
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RED CARPET FIGURATIVELY,
LITERALLY. BUT NOT THIS YEARS.
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00:03:11,474 --> 00:03:15,344
FOR WEEK THERE'S BEEN A
SPECULATION THAT THE ACADEMY
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00:03:15,344 --> 00:03:19,515
WOULD MAKE A CHANGE OF COLOR,
AND THIS YEAR IT'S BEEN REPLACED
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BY A CHAMPAGNE CARPET.
THE FIRST TIME SINCE 1961 THAT
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THE CARP ED IS NOT RED.
THE CADNY SAYS THE LIGHTER COLOR
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CARPET WAS WARRANTED BECAUSE OF
THE DRAPING OVERHEAD.
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00:03:32,395 --> 00:03:35,631
MANY PEOPLE WILL STILL REFER TO
IT AS THE "RED CARPET."
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>> A LOT OF DEBATES OVER THE
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00:03:38,568 --> 00:03:44,807
COLOR, BEIGE, CHAMPAGNE.
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THERE'S NO EATING ON THE CARPET,
BUT NOT GOING TO HAPPEN TODAY.
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00:03:49,645 --> 00:03:52,748
BUT RED CARPET IS A STATE OF
MIND. WE CAN ALL AGREE ON THAT.
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00:03:52,748 --> 00:03:56,385
WE ARE IN THE RIGHT STATE OF
MIND TODAY TO BRING YOU OUR
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SPECIAL COVERAGE OVER THE NEXT
FEW HOURS.
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IF YOU HAVEN'T HAD A CHANCE TO
SEE ALL THE NOMINATED FILMS OR
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00:04:02,425 --> 00:04:04,694
PERFORMANCES, WE'LL BRING YOU UP
TO SPEED.
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OUR OSCARS EXPERTS ARE HERE TO
HANDICAP ALL THE RACES.
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00:04:09,498 --> 00:04:12,535
CHRIS AND KELLY HAVE BEEN
WORKING HARD TO UNCOVER WHAT'S
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00:04:12,535 --> 00:04:16,572
GOING ON BEHIND THE SCENES,
INSIDE THE THEATER AND WITH THE
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00:04:16,572 --> 00:04:19,775
ACADEMY.
AND INTERVIEWS WITH THE NOMINEES
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COMING UP.
OF COURSE, THOSE OSCAR FASHIONS.
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00:04:21,544 --> 00:04:25,848
SO GRAB A SNACK, MAYBE A DRINK,
AND GRAB THAT OSCAR SCOREBOARD,
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00:04:25,848 --> 00:04:27,783
BECAUSE WE'RE JUST GETTING
STARTED TODAY.
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00:04:27,783 --> 00:04:29,952
>> A LITTLE COCKTAIL OR
SOMETHING.
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00:04:29,952 --> 00:04:31,487
>> THAT'S OKAY.
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00:04:31,487 --> 00:04:34,724
>> WE'LL KICK IT OFF WITH
DETAILS ABOUT TONIGHT'S BROAD
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00:04:34,724 --> 00:04:39,428
CAST. INSIDE TONIGHT, OSCARS AND
PRODUCERS ARE STILL REHEARSING.
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THE ACADEMY DID RELEASE A FEW
PHOTOS FROM YESTERDAY'S
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00:04:46,802 --> 00:04:49,605
REHEARSALS.
FORMER NOMINEE KATE HUDSON
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00:04:49,605 --> 00:04:57,647
PRACTICED HANDING OUT AN OSCAR
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00:04:57,647 --> 00:05:03,586
STA STATUETTE.
AND HUGH GRANT AND ANDY McDOWELL
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00:05:03,586 --> 00:05:07,657
CO-STARS IN "FOUR WEDDINGS AND A
FUNERAL" THEY WILL REUNITE
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00:05:07,657 --> 00:05:09,492
TONIGHT.
AND WE HAVE A PREVIEW OF WHAT
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00:05:09,492 --> 00:05:11,394
YOU CAN EXPECT.
LET'S TAKE A LOOK.
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00:05:11,394 --> 00:05:13,796
>> I'M EXCITED.
I'VE NEVER BEEN TO THE OSCARS
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00:05:13,796 --> 00:05:16,632
BEFORE.
THIS IS MY FIRST TIME HERE, AND
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00:05:16,632 --> 00:05:19,602
THE WAY YOU PEOPLE GO THROUGH
HOSTS, IT'S PROBABLY MY LAST
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00:05:19,602 --> 00:05:21,537
TIME.
SO I'M GOING TO ENJOY THIS WHILE
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00:05:21,537 --> 00:05:21,871
I'M HERE.
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00:05:21,871 --> 00:05:26,642
>> HE DEFINITELY SPOKE TOO SOON,
BECAUSE TONIGHT, JIMMY KIMMEL
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00:05:26,642 --> 00:05:31,747
WILL RETURN FOR A THIRD TIME TO
HOST THE 95th ACADEMY AWARDS.
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00:05:31,747 --> 00:05:35,818
>> ABC HAS TASKED US WITH
FINDING A MOST WHO IS
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00:05:35,818 --> 00:05:37,553
UNFLAPPABLE AND UNSLAPABLE.
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00:05:37,553 --> 00:05:41,824
>> THAT'S GOOD.
I CAN'T GET SLAPPED. I CRY A LOT.
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00:05:41,824 --> 00:05:45,828
>> WHILE HE HAS A LONG WAY TO GO
TO CATCH UP WITH BOB HOPE'S
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RECORD OF HOSTING THE OSCARS, 19
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TIMES, HE WILL BE A 3-PEATER.
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00:05:57,640 --> 00:06:00,743
WITH HIS RETURN, THE ACADEMY
HOPES TO RECAPTURE THE GLORY
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00:06:00,743 --> 00:06:05,881
DAYS WHEN MORE THAN 30 MILLION
VIEWERS TUNED IN TO WATCH
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00:06:05,881 --> 00:06:13,489
HOLLYWOOD'S BIGGEST NIGHT, A
STEEP CLIMB FROM THE 2021 YEAR
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00:06:13,489 --> 00:06:17,660
OF 10.5 MILLION.
NAVIGATING THE UNEXPECTED GOES
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00:06:17,660 --> 00:06:19,695
HAND IN GLOVE WITH HOSTING
DUTIES.
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00:06:19,695 --> 00:06:22,598
LIKE THE BEST PICTURE MIXUP IN
2017.
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00:06:22,598 --> 00:06:27,903
>> THIS IS NOT A JOKE.
"MOONLIGHT" HAS WON BEST PICTURE.
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00:06:27,903 --> 00:06:32,742
>> THERE HAVE BEEN MANY
UNFORGETTABLE MOMENTS AT THE
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00:06:32,742 --> 00:06:35,745
OSCAR, FROM THIS CELEBRATION TO
GENERAL FUR LAWRENCE TRIPPING ON
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00:06:35,745 --> 00:06:37,847
HER WAY UP TO ACCEPT AN AWARD.
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00:06:37,847 --> 00:06:42,852
>> YOU GUYS ARE STANDING UP
BECAUSE YOU FEEL BAD I FELL.
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00:06:42,852 --> 00:06:46,555
>> BUT PERHAPS NONE MORE
SHOCKING THAN 2022.
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>> I'M OUT HERE --
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[ LAUGHTER ]
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00:06:51,894 --> 00:06:55,564
OH, WOW! WOW!
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00:06:55,564 --> 00:06:59,735
>> AFTER THE CAMERAS STOPPED
ROLLING ON THE 94th OSCARS,
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00:06:59,735 --> 00:07:01,871
EVERYONE WAS TALKING ABOUT THE
SLAP.
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00:07:01,871 --> 00:07:05,908
EVEN AFTER WILL SMITH RESIGNED
FROM THE ACADEMY AND ISSUED AN
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00:07:05,908 --> 00:07:06,575
APOLOGY.
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00:07:06,575 --> 00:07:10,813
>> CHRIS, I APOLOGIZE TO YOU.
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00:07:10,813 --> 00:07:15,551
>> THE ACADEMY RELEASED A
DECISION, STATING THE BOARD HAS
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00:07:15,551 --> 00:07:20,923
DECIDED, FOR A PERIOD OF TEN
YEARS, FROM APRIL 8, 2022, MR.
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00:07:20,923 --> 00:07:25,661
SMITH SHALL NOT BE PERMITTED TO
ATTEND ANY ACADEMY EVENTS OR
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00:07:25,661 --> 00:07:25,795
PROGRAMS.
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00:07:25,795 --> 00:07:30,966
>> THE CAVEAT IS HE STILL CAN BE
NOMINATED AND WIN FOR A FILM
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THAT HE'S NOMINATED FOR.
HE JUST WOULDN'T BE ABLE TO
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ATTEND THE CEREMONY ITSELF.
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00:07:36,705 --> 00:07:40,042
>> BUT THE REPERCUSSIONS ARE
STILL REVERBERATING ONE YEAR
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00:07:40,042 --> 00:07:47,817
LATER. WHILE SMITH'S LATEST MOVIE
"EMANCIPATION" WAS TOUTED BY
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00:07:47,817 --> 00:07:50,553
SOMEONE AS AN AWARDS CONTENDER,
IT DIDN'T RECEIVE A SINGLE
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00:07:50,553 --> 00:07:52,588
NOMINATION.
IN THE CATEGORY OF BEST ACTOR,
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00:07:52,588 --> 00:07:56,926
IT'S HARD TO RECALL A MORE
CONTESTED RACE IN THE LAST TWO
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DECADES.
AUSTIN BUTLER AND BRENDAN FRASER
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ARE DRUMMING UP A STORM OF
PREDICTIONS.
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00:08:01,797 --> 00:08:05,901
IT'S THE HOLLYWOOD HEARTTHROB
WHO CAME OUT ON TOP OF THE
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00:08:05,901 --> 00:08:10,940
GLOBES VERSUS THE HOLLYWOOD
COMEBACK FROM SNAG THE SAG.
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00:08:10,940 --> 00:08:17,880
WHICH FILM IS THE FAVORITE WIN
TONIGHT'S PRIZE?
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THERE IS THE COMEDY DRAMA
NOMINATED FOR 11 ACADEMY AWARDS
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00:08:22,017 --> 00:08:24,019
TONIGHT.
EVEN WITH A LOT OF MOMENTUM
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00:08:24,019 --> 00:08:28,858
BEHIND THE FILM, IT WILL COMPETE
WITH A LARGE GROUP OF OTHER
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00:08:28,858 --> 00:08:31,660
CROWD PLEASERS.
IN AN EFFORT TO ALLOW A MORE
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00:08:31,660 --> 00:08:35,764
DIVERSE GROUP OF CONTENDERS, THE
ACADEMY REQUIRED TEN BEST
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00:08:35,764 --> 00:08:39,702
PICTURE NOMINEES.
TWO HEAVY HITTER SEQUELS THAT
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00:08:39,702 --> 00:08:42,171
HAD FANS FLOCKING TO THE AWARD.
"TOP GUN: MAVERICK," WHICH RAKED
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00:08:42,171 --> 00:08:46,008
IN $1.4 BILLION AT THE BOX
OFFICE.
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00:08:46,008 --> 00:08:51,914
AND JAMES CAMERON'S
MUCH-ANTICIPATED "AVATAR: THE
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00:08:51,914 --> 00:08:57,086
WAY OF WATER," WHICH BROUGHT IN
$2.3 BILLION WORLDWIDE.
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00:08:57,086 --> 00:09:02,057
BUT BOX OFFICE EARNINGS DON'T
ALWAYS EQUATE TO AN OSCAR WIN.
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00:09:02,057 --> 00:09:06,695
THERE ARE STORIES LIKE "TAR," A
STORY ABOUT CANCEL CULTURE.
155
00:09:06,695 --> 00:09:10,799
"WOMEN TALKING," A LOOK AT A -R.
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00:09:10,799 --> 00:09:15,104
>> WE CANNOT FORGIVE BECAUSE WE
ARE FORCED TO.
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00:09:15,104 --> 00:09:20,676
>> "THE FABELMANS" BASED ON THE
REAL-LIFE STORY OF STEVEN
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00:09:20,676 --> 00:09:21,210
SPIELBERG.
"EVERYTHING EVERYWHERE ALL AT
159
00:09:21,210 --> 00:09:25,047
ONCE" NABBED FOUR ACTING
NOMINATIONS, INCLUDING THE BEST
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00:09:25,047 --> 00:09:27,650
SUPPORTING ACTRESS FOR JAMIE LEE
CURTIS, HER FIRST OSCAR
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00:09:27,650 --> 00:09:30,052
NOMINATION EVER.
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00:09:30,052 --> 00:09:36,725
>> DID YOU SEE THESE?
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00:09:36,725 --> 00:09:42,798
YOU DON'T GET ONE OF THESE
UNLESS YOU SEE A LOT OF BULL
164
00:09:42,798 --> 00:09:45,834
[ MUTED ], EXCUSE MY FRENCH.
165
00:09:45,834 --> 00:09:48,837
>> AND RIHANNA IS SET TO TAKE
THE OSCARS BY HOME TONIGHT.
166
00:09:48,837 --> 00:09:52,141
♪
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00:09:52,141 --> 00:09:56,745
AND "NAATU NAATU" FROM THE MOVIE
"RRR."
168
00:09:56,745 --> 00:10:02,818
WILL WE SEE THOSE HIGH ENERGY
DANCE MOVES WE HAVE COME TO
169
00:10:02,818 --> 00:10:06,689
LOVE?
JOINING US NOW AS THEY DO EVERY
170
00:10:06,689 --> 00:10:11,894
YEAR WITH MORE INSIGHTS INTO
THIS EVENING'S BIG SHOWS, CHRIS
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00:10:11,894 --> 00:10:16,098
CONLEY AND KELLY CARTER.
LOOKING SO DASHING AND STUNNING
172
00:10:16,098 --> 00:10:16,732
TONIGHT.
173
00:10:16,732 --> 00:10:17,099
>> ABSOLUTELY.
174
00:10:17,099 --> 00:10:18,968
>> THANK YOU SO MUCH FOR JOINING
US.
175
00:10:18,968 --> 00:10:21,070
>> LOOK AT YOU GUYS.
176
00:10:21,070 --> 00:10:25,908
>> SO OF COURSE, PEOPLE ARE
STILL TALKING ABOUT THE SLAP.
177
00:10:25,908 --> 00:10:30,846
WE HEARD ABOUT -- FORGET ABOUT
JIMMY KIMMEL IS UNSLAPABLE.
178
00:10:30,846 --> 00:10:39,021
HE JOKED THE REASON THE ACADEMY
179
00:10:39,021 --> 00:10:43,025
DIDN'T NEED RED CARPET TONIGHT
IS NOBODY WILL GET SLAPPED.
180
00:10:43,025 --> 00:10:46,829
>> IT'S IMPORTANT THAT THE
ACADEMY FEELS THAT THE FOLKS IN
181
00:10:46,829 --> 00:10:50,899
THE FIRST 15 ROWS NOT FEEL LIKE
THEY'RE GOING TO BE A TARGET FOR
182
00:10:50,899 --> 00:10:53,035
COMEDY.
LOOK FOR A FUN AND FUNNY NIGHT.
183
00:10:53,035 --> 00:10:56,005
>> THEY SAID THEY HAVE TO
ADDRESS IT, BUT THEY DON'T WANT
184
00:10:56,005 --> 00:10:59,174
IT TO BE THE FOCUS.
THE MOVIES, OF COURSE.
185
00:10:59,174 --> 00:11:03,212
KELLY, THIS IS A MILESTONE YEAR
FOR NOMINEES, OLDER THAN 60.
186
00:11:03,212 --> 00:11:06,248
WHAT DOES THIS MEAN FOR THEM AND
SAY ABOUT THE FUTURE?
187
00:11:06,248 --> 00:11:11,120
>> IT SAYS A LOT.
EVERYONE IS EXCITED ABOUT ANGELA
188
00:11:11,120 --> 00:11:16,125
BASSETT, JAMIE LEE CURTIS,
189
00:11:16,125 --> 00:11:21,930
MICHELLE YEOH.
THESE WOMEN ARE INCREDIBLE,
190
00:11:21,930 --> 00:11:25,100
THEY'RE KILLING IT, AND THEY'RE
OSCAR NOMINEES TONIGHT.
191
00:11:25,100 --> 00:11:26,168
I THINK THAT'S SIGNIFICANT.
192
00:11:26,168 --> 00:11:29,104
>> LET'S TALK ABOUT BEST
ORIGINAL SONG.
193
00:11:29,104 --> 00:11:34,043
PEOPLE ARE CALLING IT THE BATTLE
OF THE DIVAS BETWEEN RIHANNA AND
194
00:11:34,043 --> 00:11:36,845
LADY GAGA.
ONLY ONE WILL PERFORM TONIGHT.
195
00:11:36,845 --> 00:11:37,813
WHAT CAN WE EXPECT?
196
00:11:37,813 --> 00:11:41,216
>> WE'LL SEE.
I THINK "NAATU NAATU" IS THE
197
00:11:41,216 --> 00:11:44,853
THING EVERYBODY IS DATING TO
SEE, NOT JUST THE SONG, BUT THE
198
00:11:44,853 --> 00:11:47,056
PERFORMANCE.
BUT RIHANNA UP ON STAGE, SING
199
00:11:47,056 --> 00:11:50,192
THING POWERFUL SONG FROM "BLACK
PANTHER: WAKANDA FOREVER," WHICH
200
00:11:50,192 --> 00:11:54,196
HAD ITS WORLD PREMIERE AT THE
DOLBY THEATRE.
201
00:11:54,196 --> 00:11:58,100
>> CHRIS IS POINTING OUT THAT HE
DOES HAVE HIS SUSPENDERS ON
202
00:11:58,100 --> 00:12:00,336
TODAY, SO HE'S READY FOR THE
"NAATU NAATU" DANCE.
203
00:12:00,336 --> 00:12:03,105
>> I GOT MY HOOK STEP GOING.
204
00:12:03,105 --> 00:12:05,841
>> HE'S BEEN PRACTICING.
205
00:12:05,841 --> 00:12:09,244
>> MY WIFE TOLD ME NOT TO NOT TO
DANCE ON THE SHOW.
206
00:12:09,244 --> 00:12:09,378
[ LAUGHTER ]
207
00:12:09,378 --> 00:12:13,148
I'M JUST GOING TO HAVE TO FOLLOW
HER LEAD ON THAT.
208
00:12:13,148 --> 00:12:15,250
WE'LL TALK TO YOU THROUGHOUT THE
COURSE OF THE BROAD CAST HERE,
209
00:12:15,250 --> 00:12:21,123
THE NEXT THREE HOURS, OF COURSE.
COMING UP, SO MUCH MORE.
210
00:12:21,123 --> 00:12:26,895
INTERVIEWS WITH ANGELA BASSETT,
AND YOUNG ACTING PHENOM AUSTIN
211
00:12:26,895 --> 00:12:28,364
BUTLER.
AND WHAT WOULD THE OSCARS BE
212
00:12:28,364 --> 00:12:33,936
WITHOUT A REVIEW OF THE GREAT
FASHION THAT WE'LL SEE.
213
00:12:33,936 --> 00:12:36,138
>> A QUESTION FOR YOU AS WE GO
TO BREAK.
214
00:12:36,138 --> 00:12:39,041
TAKE A LOOK AT THIS VIDEO WE ARE
ABOUT TO SHOW YOU HERE.
215
00:12:39,041 --> 00:12:42,945
CAN YOU IDENTIFY THE BEST
216
00:12:42,945 --> 00:12:49,051
ACTRESS NOMINEE FEATURED IN THIS
ROLE?
217
00:12:49,051 --> 00:12:50,419
EVERYONE HAS TO START SOMEWHERE.
THE ANSWER WHEN WE RETURN.
218
00:12:50,419 --> 00:12:51,120
STAY WITH US.
219
00:13:07,136 --> 00:13:11,306
>>> I WOULD LOVE TO THANK MY
MOTHER FORGIVING ME NOT JUST
220
00:13:11,306 --> 00:13:15,177
STORIED INSPIRATION FOR MY
FILMS, BUT ALSO JUST IMBUING ME
221
00:13:15,177 --> 00:13:19,181
WITH THIS SENSE OF CONFIDENCE
AND BELIEF IN MYSELF EVER SINCE
222
00:13:19,181 --> 00:13:21,283
I WAS LITTLE.
223
00:13:21,283 --> 00:13:22,284
♪
224
00:13:22,284 --> 00:13:27,222
>>> WELCOME BACK.
SHE THANKED HER MOM, BUT I KNOW
225
00:13:27,222 --> 00:13:29,057
SHE'S THANKFUL TO BE HERE
TONIGHT.
226
00:13:29,057 --> 00:13:35,330
IN JUST A FEW HOURS, THOSE
227
00:13:35,330 --> 00:13:39,968
NOMINEES WILL WALK IN FRONT OF
THE CAMERAS.
228
00:13:39,968 --> 00:13:44,206
>> AND WELCOME BACK, EVERYONE.
I'M LINSEY DAVIS WITH MY ABC
229
00:13:44,206 --> 00:13:48,043
NEWS COLLEAGUE MY WHIT JOHNSON
HERE AT THE DOLBY THEATRE IN
230
00:13:48,043 --> 00:13:50,379
HOLLYWOOD, COUNTING DOWN TO
TONIGHT'S BIG AWARD CEREMONY.
231
00:13:50,379 --> 00:13:54,249
WE WANT TO TURN TO SOMETHING
THAT'S BECOME A TRADITION FOR
232
00:13:54,249 --> 00:13:58,387
US.PEVERY YEAR, WHIT, I KNOW YO
BEEN DIGGING INTO THE CRATES FOR
233
00:13:58,387 --> 00:13:58,487
THIS.
234
00:13:58,487 --> 00:14:02,124
>> A LOT OF RESEARCH.
WE PUT OUR INVESTIGATIVE
235
00:14:02,124 --> 00:14:06,195
DEPARTMENT ON THIS AND DIGGING
IN LONG BEFORE TONIGHT'S
236
00:14:06,195 --> 00:14:08,330
NOMINATED ACTORS AND ACTRESSES
WERE READY FOR THEIR MOMENT IN
237
00:14:08,330 --> 00:14:11,300
THE SPOTLIGHT.
THEY WERE ASPIRING ARTISTS
238
00:14:11,300 --> 00:14:16,104
LOOKING FOR A BIG BREAK, AND
SOME GET THAT BREAK IN SMALL TV
239
00:14:16,104 --> 00:14:21,376
ROLES OR TELEVISION COMMERCIALS.
WHILE THEY LIKE TO SOMETIMES
240
00:14:21,376 --> 00:14:25,147
FORGET THEM, WE LOVE THEM.
WE WANT TO SHOWCASE THEM FOR YOU
241
00:14:25,147 --> 00:14:29,418
AT HOME.
SO HERE NOW TO START IT OUT IS A
242
00:14:29,418 --> 00:14:34,289
LOOK BACK AT BEST ACTRESS
CONTENDERS LONG BEFORE THEY WERE
243
00:14:34,289 --> 00:14:37,359
OSCAR NOMINEES.
MICHELLE YEOH, NOMINATED FOR
244
00:14:37,359 --> 00:14:42,397
"EVERYTHING EVERYWHERE ALL AT
ONCE."
245
00:14:42,397 --> 00:14:48,170
>> SHE TURNED OUT TO BE
STUBBORN, DANGEROUS, A MESS.
246
00:14:48,170 --> 00:14:50,239
JUST LIKE HER MOTHER.
247
00:14:50,239 --> 00:14:52,508
>> I CAN'T SEE! HOLD ON.
248
00:14:52,508 --> 00:14:57,212
>> YOU MAY REMEMBER HER AS A
BOND GIRL IN "TOMORROW NEVER
249
00:14:57,212 --> 00:15:01,083
DIES" IN 1997 WITH PIERCE
BROSNAN.
250
00:15:01,083 --> 00:15:04,186
>> DON'T GET ANY IDEAS.
251
00:15:04,186 --> 00:15:08,123
>> HER FIRST ON SCREEN ROLL, A
WATCH COMMERCIAL WITH JACKIE
252
00:15:08,123 --> 00:15:11,093
CHAN, WHICH LED TO DECADES OF
WORK IN MARTIAL ARTS ACTION
253
00:15:11,093 --> 00:15:15,130
FILMS.
254
00:15:15,130 --> 00:15:20,536
BUT HER FIRST STAGE WORK,
REPRESENTING MALAYSIA AT THE
255
00:15:20,536 --> 00:15:23,238
MISS WORLD BEAUTY PADGETT IN
1983.
256
00:15:23,238 --> 00:15:30,445
>> I'M A GRADUATE AND I COME
FROM MALAYSIA.
257
00:15:30,445 --> 00:15:36,018
>> MICHELLE WILLIAMS IS
NOMINATED FOR HER ROLE AS A MOM
258
00:15:36,018 --> 00:15:36,251
IN "THE FABELMANS."
259
00:15:36,251 --> 00:15:39,288
>> DO YOU HAVE ANY IDEA HOW MUCH
I LOVE YOU?
260
00:15:39,288 --> 00:15:40,188
♪
261
00:15:40,188 --> 00:15:45,227
>> SHE WAS A STAR THE MOMENT SHE
DEBUTED IN "DAWSON'S CREEK" AS A
262
00:15:45,227 --> 00:15:47,062
17-YEAR-OLD IN 1998.
263
00:15:47,062 --> 00:15:49,464
>> YOU'RE DAWSON.
YEAH, I KNOW. WE MET BEFORE.
264
00:15:49,464 --> 00:15:53,268
I'M JEN.
265
00:15:53,268 --> 00:15:55,504
>> ON "STEP BY STEP" --
266
00:15:55,504 --> 00:16:00,242
>> PERHAPS YOU NOTICED ME AROUND
CAMPUS?
267
00:16:00,242 --> 00:16:04,513
>> YEAH, YOU'RE THE KID
EVERYBODY IS STICKING IN THE
268
00:16:04,513 --> 00:16:05,147
TOILET.
269
00:16:05,147 --> 00:16:10,552
>> AND ON "BAY WATCH" IN 1993,
HER FIRST APPEARANCE ON
270
00:16:10,552 --> 00:16:10,686
TELEVISION.
271
00:16:10,686 --> 00:16:12,754
>> I'M HAVING A PARTY FRIDAY
NIGHT. DO YOU WANT TO COME?
272
00:16:12,754 --> 00:16:16,158
>> YEAH, SURE.
273
00:16:16,158 --> 00:16:20,529
>> GREAT.
WE'LL MAKE IT A BEACH PARTY.
274
00:16:20,529 --> 00:16:26,134
>> ANA de ARMAS STUNS AS MARILYN
MONROE IN "BLONDE."
275
00:16:26,134 --> 00:16:31,139
♪
276
00:16:31,139 --> 00:16:37,279
>> SURVIVES THE FAMILY IN
"KNIVES OUT."
277
00:16:37,279 --> 00:16:41,183
>> YOU'VE HAD A LONG DAY.
WANT TO DO DRUGS?
278
00:16:41,183 --> 00:16:46,221
>> AND HOLDS HER OWN AS A BOND
GIRL IN "NO TIME TO DIE."
279
00:16:46,221 --> 00:16:48,523
SHE CAN'T TRUST HER HUSBAND IN
"WAR DOGS."
280
00:16:48,523 --> 00:16:56,431
>> FIVE MONTHS PS PREGNANT.
BUT KEANU SHOULDN'T TRUST HER IN
281
00:16:56,431 --> 00:16:58,166
"KNOCK, KNOCK."
282
00:16:58,166 --> 00:17:01,637
>> NOT EVERYONE WOULD JUST LET
TWO TOTAL STRANGERS INTO THEIR
283
00:17:01,637 --> 00:17:02,237
HOUSE.
284
00:17:02,237 --> 00:17:06,608
>> AND TRUST US, THIS GUY SAID
YES WHEN SHE ASKED HIM TO DANCE
285
00:17:06,608 --> 00:17:11,179
AT AGE 16.
286
00:17:11,179 --> 00:17:17,486
THIS WAS IN 2006.
ANDREA RISEBOROUGH PLAYS AN
287
00:17:17,486 --> 00:17:22,524
ALCOHOLIC MOM IN "TO LESLIE"
LOOKING FOR REDEMPTION.
288
00:17:22,524 --> 00:17:22,724
>> WHERE YOU BEEN?
289
00:17:22,724 --> 00:17:24,159
>> YOU'RE HOME EARLY.
290
00:17:24,159 --> 00:17:26,561
>> I'VE BEEN ALL OVER TOWN
LOOKING FOR YOU.
291
00:17:26,561 --> 00:17:28,397
>> I WENT LOOKING FOR A JOB.
292
00:17:28,397 --> 00:17:31,199
>> A JOB?
293
00:17:31,199 --> 00:17:34,436
>> YEAH.
FIGURE OUT MY PLAN.
294
00:17:34,436 --> 00:17:39,408
>> MANY OF HER EARLY FILMS SAW
HER PLAYING BRITISH ARISTOCRACY,
295
00:17:39,408 --> 00:17:43,512
A GIRLFRIEND OF THEN PRINCE
CHARLES IN "WHATEVER LOVE MEANS"
296
00:17:43,512 --> 00:17:44,279
IN 2005.
297
00:17:44,279 --> 00:17:45,480
>> WOULD YOU LIKE TO DANCE?
298
00:17:45,480 --> 00:17:48,583
>> NO, THANK YOU.
NO ONE TREATS ME LIKE THAT, NOT
299
00:17:48,583 --> 00:17:51,386
EACH YOU.
300
00:17:51,386 --> 00:17:54,289
>> AND FACING REALITY IN "W. E."
301
00:17:54,289 --> 00:17:57,292
>> YOUR FAMILY AND THE PRIME
MINISTER WON'T STAND FOR IT.
302
00:17:57,292 --> 00:17:59,494
>> THEN I'LL GIVE UP THE THRONE.
303
00:17:59,494 --> 00:18:03,765
>> THEN I WILL BE THE MOST
DESPISED WOMAN IN THE WORLD.
304
00:18:03,765 --> 00:18:08,637
>> AS MARGARET THATCHER ERTHATC.
305
00:18:08,637 --> 00:18:13,442
>> I WOULD BE REMISS IF I HADN'T
STUDIED THE CAREER OF THE MAN I
306
00:18:13,442 --> 00:18:15,610
INTEND TO SUCCEED.
PREPARATION IS EVERYTHING.
307
00:18:15,610 --> 00:18:21,616
>> AND ON THIS SIDE OF THE BOND,
SHE PORTRAYS TOM CRUISE IN
308
00:18:21,616 --> 00:18:21,750
"OBLIVION."
309
00:18:21,750 --> 00:18:26,455
>> I'M HAVING A PROBLEM WITH MY
TECHNICIAN.
310
00:18:26,455 --> 00:18:31,359
HE'S UNFIT FOR SERVICE.
311
00:18:31,359 --> 00:18:36,465
>> CATE BLANCHETT, NOMINATED FOR
PLAYING A WORLD CLASS CONDUCTOR
312
00:18:36,465 --> 00:18:36,598
IN "TAR."
313
00:18:36,598 --> 00:18:42,437
♪
314
00:18:42,437 --> 00:18:45,707
>> I THINK YOU MIGHT HAVE A
TOUCH OF MALARIA.
315
00:18:45,707 --> 00:18:51,346
BUT IN ONE OF HER EARLIEST ROADS
IN 1993, SHE WAS IN A JAPANESE
316
00:18:51,346 --> 00:18:54,549
PRISON CAMP.
IRONICALLY, IT'S GLENN CLOSE
317
00:18:54,549 --> 00:18:59,421
PLAYING CONDUCTOR.
AS A PANICKED BRIDE IN "THE
318
00:18:59,421 --> 00:19:00,355
WEDDING PARTY."
319
00:19:00,355 --> 00:19:01,256
>> HOW DO YOU FEEL?
320
00:19:01,256 --> 00:19:08,697
>> I FEEL PRETTY GOOD.
NO, I FEEL AWFUL.
321
00:19:08,697 --> 00:19:14,669
>> AND IN THE EARLY '90s,
PLAYING THE REBEL BIANCA IN THE
322
00:19:14,669 --> 00:19:18,306
MINI SERIES "BORDER TOWN."
323
00:19:18,306 --> 00:19:19,641
>> HEY, LOOK AT THIS.
324
00:19:19,641 --> 00:19:22,344
>> AND EVERYONE GETS THEIR START
SOMEWHERE.
325
00:19:22,344 --> 00:19:27,549
YEP, THAT'S EIGHT-TIME OSCAR
NOMINEE, TWO-TIME WINNER CATE
326
00:19:27,549 --> 00:19:31,520
BLANCHETT IN AN AD.
327
00:19:31,520 --> 00:19:38,293
>> I WANT A PACKET OF TIM TAMS
THAT NEVER RUNS OUT.
328
00:19:38,293 --> 00:19:40,362
>> YOU HAVE TWO WISHES LEFT.
329
00:19:40,362 --> 00:19:44,399
>> WHAT MORE COULD YOU WANT?
330
00:19:44,399 --> 00:19:48,436
>> NOW I'M HUNGRY FOR THOSE
BISCUITS.
331
00:19:48,436 --> 00:19:51,473
SHE NAILED THAT PERFORMANCE IN
THE COMMERCIAL. SO FUN.
332
00:19:51,473 --> 00:19:56,478
WE HAVE UP COVERED A LOT MORE OF
THOSE VINTAGE CLIPS FOR
333
00:19:56,478 --> 00:19:57,612
EVERYBODY.
LATER, WE'LL SHOW YOU HOW THE
334
00:19:57,612 --> 00:19:59,648
OTHERS MADE THEIR FIRST
IMPRESSIONS ON SCREEN.
335
00:19:59,648 --> 00:20:04,386
>>> ALSO COMING UP, WHAT HAPPENS
WHEN YOU PUT TOM CRUISE BACK IN
336
00:20:04,386 --> 00:20:07,722
A FLIGHT SUIT OR ANGELA BASSETT
BACK UNDER A ROYAL CROWN?
337
00:20:07,722 --> 00:20:10,592
ONE THING IS A GUARANTEED BOX
OFFICE HIT.
338
00:20:10,592 --> 00:20:12,794
THAT AND MUCH MORE WHEN WE
RETURN LIVE TO HOLLYWOOD.
339
00:20:12,794 --> 00:20:14,496
STAY WITH US.
340
00:20:27,843 --> 00:20:31,446
>>> HEY, EVERYBODY.
WELCOME BOOK HOLLYWOOD WHERE, IN
341
00:20:31,446 --> 00:20:34,516
JUST A FEW HOURS, THIS CARPET
WILL BE LINED WITH THE BIGGEST
342
00:20:34,516 --> 00:20:37,452
STARS IN ENTERTAINMENT.
NOT JUST THE NOMINEES, BUT
343
00:20:37,452 --> 00:20:41,489
SUPERSTAR PRESENTERS LIKE DWAYNE
JOHNSON, HARRISON FORD, AND
344
00:20:41,489 --> 00:20:42,524
MICHAEL B. JORDAN.
345
00:20:42,524 --> 00:20:45,727
>> AS THE COUNTDOWN TO THE
AWARDS CONTINUES, WE WANT TO
346
00:20:45,727 --> 00:20:49,631
LOOK AT THE ACTING CATEGORIES
AND HANDICAP WHO THE FAVORITES
347
00:20:49,631 --> 00:20:53,401
ARE TO WIN LATER TONIGHT.
OUR EXPERT ALSO BE HERE IN A
348
00:20:53,401 --> 00:20:56,805
MOMENT TO HELP US WITH THAT.
BUT FIRST, LET'S REMIND
349
00:20:56,805 --> 00:21:00,475
EVERYBODY WHO IS NOMINATED IN
THE BEST ACTOR CATEGORY.
350
00:21:00,475 --> 00:21:03,645
>> SO MANY GREAT PERFORMANCES WE
WANT TO TAKE A LOOK AT RIGHT
351
00:21:03,645 --> 00:21:06,481
NOW.
352
00:21:06,481 --> 00:21:30,438
♪
353
00:21:30,438 --> 00:21:32,574
♪
354
00:21:32,574 --> 00:21:34,609
>> THERE IT IS.
355
00:21:34,609 --> 00:21:41,716
TALKING TO ME, ARE YOU?
356
00:21:41,716 --> 00:21:48,523
>> NOW I REMEMBER WHAT IT'S LIKE
TO BE ALIVE.
357
00:21:48,523 --> 00:21:50,558
>> WHAT'S YOUR SISTER'S NAME?
358
00:21:50,558 --> 00:21:58,867
>> SOPHIE.
359
00:21:58,867 --> 00:22:01,836
I'M HER DAD ACTUALLY.
360
00:22:01,836 --> 00:22:07,876
>> DO YOU EVER GET THE FEELING
THAT PEOPLE ARE INCAPABLE OF NOT
361
00:22:07,876 --> 00:22:12,647
CARING?
362
00:22:12,647 --> 00:22:14,616
>> JUST TREMENDOUS PERFORMANCES
THERE.
363
00:22:14,616 --> 00:22:18,653
I KNOW THAT OSCAR VOTERS HAD TO
HAVE A DIFFICULT TIME CHOOSING A
364
00:22:18,653 --> 00:22:22,424
WINNER.
I DID NOT HAVING A HARD TIME
365
00:22:22,424 --> 00:22:25,460
SAYING YES WHEN I WAS INVITED TO
ATTEND THE LUNCHEON IN
366
00:22:25,460 --> 00:22:26,828
HOLLYWOOD.
I HAD A CHANCE TO SIT DOWN WITH
367
00:22:26,828 --> 00:22:31,566
SEVERAL OF THE NOMINEES,
INCLUDING ONE OF THE TALENTED
368
00:22:31,566 --> 00:22:33,601
ACTORS, HOLLYWOOD VETERAN COLIN
FARRELL.
369
00:22:33,601 --> 00:22:37,906
HE JOINED ME WITH HIS CO-STAR
FROM "THE BANSHEES OF
370
00:22:37,906 --> 00:22:39,574
INISHERIN," BRENDAN GLEESON.
371
00:22:39,574 --> 00:22:46,648
>> I'VE DONE SOMETHING, TELL ME.
I JUST DON'T LIKE YOU NO MORE.
372
00:22:46,648 --> 00:22:47,816
>> YOU LIKED ME YESTERDAY.
373
00:22:47,816 --> 00:22:50,485
>> WHAT IS IT LIKE TO GET THE
NOD?
374
00:22:50,485 --> 00:22:55,924
>> IT'S REALLY LOVELY.
IT'S SUCH A SPECIAL MOMENT.
375
00:22:55,924 --> 00:22:59,594
IT FEELS LIKE A MUCH MORE
COMMUNAL EXPERIENCE THAN IT
376
00:22:59,594 --> 00:23:00,495
MIGHT HAVE OTHERWISE.
377
00:23:00,495 --> 00:23:03,698
>> IT FEELS LIKE A GOOD YEAR FOR
IRISH ACTORS IN GENERAL.
378
00:23:03,698 --> 00:23:03,999
>> YEAH.
379
00:23:03,999 --> 00:23:07,802
>> IT'S AMAZING.
I HADN'T MET PAUL BEFORE.
380
00:23:07,802 --> 00:23:12,007
I LOVE HIS WORK ANY WAY.
SO IT GAVE US CONFIDENCE BACK
381
00:23:12,007 --> 00:23:17,579
HOME TO LOOK TOWARDS DOING THIS
QUALITY OF WORK.
382
00:23:17,579 --> 00:23:19,581
IT DOES GIVE EVERYBODY A LIFT
FOR SURE.
383
00:23:19,581 --> 00:23:22,951
>> LAST NIGHT WAS JUST THE
WHISKY TALKING.
384
00:23:22,951 --> 00:23:23,918
>> LAST NIGHT?
385
00:23:23,918 --> 00:23:25,920
>> WHAT WERE YOU SAYING?
386
00:23:25,920 --> 00:23:29,958
>> YEAH, I CAN'T REMEMBER MUCH
OF IT, BUT I REMEMBER THE GIST
387
00:23:29,958 --> 00:23:30,692
WASN'T THE BEST.
388
00:23:30,692 --> 00:23:33,795
>> GIVE US A SENSE OF THE SCENE
SET FOR US WHEN YOU FOUND OUT
389
00:23:33,795 --> 00:23:35,764
THAT YOU GOT THE NOMINATION.
390
00:23:35,764 --> 00:23:38,600
>> I WAS GOING TO WORK THE NEXT
DAY, SO I WAS IN BED.
391
00:23:38,600 --> 00:23:42,837
I KNEW WHEN THE CALL CAME IT'S
EITHER TIME TO GET UP OR IT'S
392
00:23:42,837 --> 00:23:43,038
SOMETHING ELSE.
393
00:23:43,038 --> 00:23:43,838
>> YEAH, YEAH.
394
00:23:43,838 --> 00:23:47,976
>> AND IT WAS FANTASTIC.
IT WAS A GREAT WAY TO GO TO WORK
395
00:23:47,976 --> 00:23:51,679
THE NEXT DAY.
BUT I WAS HERE, SO IT WAS NICE.
396
00:23:51,679 --> 00:23:52,814
WE COULD MEET UP THAT EVENING.
397
00:23:52,814 --> 00:23:55,950
>> YEAH, WE MET UP THAT EVENING,
ALL OF US.
398
00:23:55,950 --> 00:24:01,022
WE LOVED DOING THE FILM.
IT MEANT A LOT TO US IN OUR OWN
399
00:24:01,022 --> 00:24:03,591
INDIVIDUAL WAYS AND IN SHARED
WAYS, TOO.
400
00:24:03,591 --> 00:24:05,927
SO THERE IS A SWEETNESS TO HAVE
THIS HAPPEN.
401
00:24:05,927 --> 00:24:08,963
>> YOU ALL WORKED TOGETHER IN
2008.
402
00:24:08,963 --> 00:24:15,603
>> YOU'VE BEEN THE WORST TOUR
N IST IN THE WHOLE WORLD.
403
00:24:15,603 --> 00:24:19,641
>> KIND OF A SIMILAR IDEA OF
FRIENDS, AND THEN THIS CONFLICT.
404
00:24:19,641 --> 00:24:22,877
WHAT IS IT LIKE FOR YOU GUYS,
WHO ARE FRIENDS IN REAL LIFE, TO
405
00:24:22,877 --> 00:24:23,778
GET TO WORK TOGETHER?
406
00:24:23,778 --> 00:24:28,750
>> IT'S A JOY. IT'S EASY.
I MEAN, IT'S EASY IN THAT
407
00:24:28,750 --> 00:24:32,954
THERE'S PERMISSION FOR IT TO BE
HARD WHERE IT NEEDS TO BE HARD,
408
00:24:32,954 --> 00:24:36,591
AND PUSH EACH OTHER IN A WY TO
BE CREATIVE.
409
00:24:36,591 --> 00:24:40,862
THERE'S A KIND OF ORGANIC
ELEMENT THAT DENIES ANY
410
00:24:40,862 --> 00:24:41,763
UNDERSTANDING ON MY PART.
411
00:24:41,763 --> 00:24:45,934
>> IT'S INTERESTING NOT FULLY
KNOWING WHAT'S HAPPENING HERE.
412
00:24:45,934 --> 00:24:48,903
IT'S A COLLABORATIVE EXERCISE IN
ITS PROPER WAY.
413
00:24:48,903 --> 00:24:54,909
>> FIRST MOVIE THAT YOU SAW MADE
A BIG IMPRESSION ON YOU?
414
00:24:54,909 --> 00:24:59,848
>> "BAMBI."
BAMBI'S MOTHER DYING, THAT KID
415
00:24:59,848 --> 00:25:00,014
ME.
416
00:25:00,014 --> 00:25:05,820
>> "E. T." DYING KILLED ME.
SPIELBERG, OFTEN AT THE CORE OF
417
00:25:05,820 --> 00:25:08,756
HIS PRESENTATIONS, ARE FAMILIES
THAT ARE STRUGGLING.
418
00:25:08,756 --> 00:25:13,661
SO YEAH, IT WAS AN EXPERIENCE OF
A VERY DOMESTIC BUT VERY REAL
419
00:25:13,661 --> 00:25:16,931
TURBULENCE GOING ON IN THE
FAMILY.
420
00:25:16,931 --> 00:25:22,737
AND WHEN THE TIME CAME THAT
"E.T." DIED IT SHOOK ME TO MY
421
00:25:22,737 --> 00:25:22,871
CORE.
422
00:25:22,871 --> 00:25:26,808
>> THIS ISLAND, A SMALL IRISH
ISLAND, TWO FRIENDS WITH A
423
00:25:26,808 --> 00:25:29,811
CONFLICT.
SOMEWHAT IS IT ABOUT THIS MOVIE
424
00:25:29,811 --> 00:25:32,947
THAT SEEMS VERY SIMPLE BUT THAT
IS RESONATING WITH SO MANY
425
00:25:32,947 --> 00:25:33,081
PEOPLE?
426
00:25:33,081 --> 00:25:38,720
>> ONE OF THE GREAT CERTAINTIES
OF LIFE IS WE'RE ALL GOING TO
427
00:25:38,720 --> 00:25:45,894
DEAL WITH LOSS AT A CERTAIN
POINT.
428
00:25:45,894 --> 00:25:49,998
THE FEAR CAN ASSAIL YOU WHEN YOU
LOSE SOMEBODY THAT MEANT SO MUCH
429
00:25:49,998 --> 00:25:53,935
TO YOU.
JUST THAT KIND OF SIMPLE, SIMPLE
430
00:25:53,935 --> 00:25:56,905
DYNAMIC OF THE HUMAN EXPERIENCE
IS SOMETHING THAT PEOPLE SEEM TO
431
00:25:56,905 --> 00:26:00,942
BE LEANING INTO OR FIND A LITTLE
BIT OF HEALING IN, OR A LITTLE
432
00:26:00,942 --> 00:26:02,076
BIT OF RECOGNITION.
433
00:26:02,076 --> 00:26:05,079
>> WE CAN'T ALL BE YOU, CAN IT?
434
00:26:05,079 --> 00:26:09,984
>> YES, IT CAN.
THERE'S TWO OF US IN THIS.
435
00:26:09,984 --> 00:26:11,753
>> NO, THERE ISN'T.
436
00:26:11,753 --> 00:26:14,689
>> BECAUSE EVERYBODY HAD TO
BRING SOMETHING TO AN END THAT
437
00:26:14,689 --> 00:26:19,894
HASN'T BEEN PLANNED, IT WAS VERY
EASY FOR PEOPLE TO ACCESS IT.
438
00:26:19,894 --> 00:26:23,731
AND JUST THE PAIN THAT'S
INVOLVED IN IT, AND ALL THE
439
00:26:23,731 --> 00:26:24,832
DILEMMAS THAT ARE INVOLVED.
440
00:26:24,832 --> 00:26:29,070
>> BEFORE I WAS AN ACTOR, FILM
MADE ME FEEL LESS ALONE.
441
00:26:29,070 --> 00:26:32,006
THAT'S A BEAUTIFUL THING TO BE A
PART OF.
442
00:26:32,006 --> 00:26:34,776
>> SO WILL COLIN FARRELL TAKE
HOME AN OSCAR TONIGHT?
443
00:26:34,776 --> 00:26:42,016
HERE TO HELP US HANDICAP THE
RACE ARE TWO HOLLYWOOD INSIDERS,
444
00:26:42,016 --> 00:26:45,820
CHIEF CORRESPONDENT ELIZABETH
445
00:26:45,820 --> 00:26:50,158
WAG DONALD TRUMP MEISTER AND
CLAYTON DAVIS.
446
00:26:50,158 --> 00:26:57,098
GIVE US A SENSE, WE'RE TALKING
447
00:26:57,098 --> 00:27:01,736
ABOUT BEST ACTOR CATEGORY, WHO
WILL WIN, WHO SHOULD WIN AND WHO
448
00:27:01,736 --> 00:27:02,937
COULD BE THE DARK HORSE?
449
00:27:02,937 --> 00:27:05,840
>> WHO WILL WIN?
THIS IS REALLY A TOUGH RACE.
450
00:27:05,840 --> 00:27:09,777
IN MY MIND, THIS IS BETWEEN
BRENDAN FRASER AND AUSTIN BUTLER.
451
00:27:09,777 --> 00:27:14,816
NOW, I THINK THAT BRENDAN FRASER
WILL WIN, AND I AM ROOTING FOR
452
00:27:14,816 --> 00:27:17,919
ALL THEM, BUT I'M ROOTING FOR
HIM BECAUSE THIS HAS BEEN SUCH
453
00:27:17,919 --> 00:27:22,757
AN INCREDIBLE COMEBACK.
EVERYBODY HAS JUST LOVED TO SEE
454
00:27:22,757 --> 00:27:29,264
THIS RENAISSANCE, AS WE LIKE TO
CALL IT. WHO SHOULD WIN?
455
00:27:29,264 --> 00:27:34,836
I THINK AUSTIN OR BRENDAN SHOULD
WIN. THEY HAVE TRANSFORMATIVE
456
00:27:34,836 --> 00:27:35,970
PERFORMANCES THAT WERE
INCREDIBLE.
457
00:27:35,970 --> 00:27:39,807
BUT THE DARK HORSE, YOU ASKED
EARLIER, WOULD COLIN FARRELL WIN?
458
00:27:39,807 --> 00:27:42,810
I DO THINK HE COULD, AND I THINK
HE WILL BE THE DARK HORSE.
459
00:27:42,810 --> 00:27:47,181
>> CLAYTON, WHO WILL WIN, SHOULD
WIN AND POSSIBLE SLEEPER PICK?
460
00:27:47,181 --> 00:27:49,951
>> I THINK AUSTIN BUTLER IS
GOING TO WIN.
461
00:27:49,951 --> 00:27:53,821
HIS PERFORMANCE AS ELVIS PRESLEY
DOMINATED.
462
00:27:53,821 --> 00:27:56,891
HE WON THE GOLDEN GLOBE,
INTERNATIONAL PRESENCE IS GOING
463
00:27:56,891 --> 00:27:59,827
TO COME THROUGH.
I THINK COLIN FARRELL IS THE BIG
464
00:27:59,827 --> 00:28:03,064
UPSET HERE.
IT WAS ON THIS PROGRAM TWO YEARS
465
00:28:03,064 --> 00:28:07,068
AGO, I SAID CHADWICK BOSEMAN.
A LOT OF PEOPLE SAID HE WILL WIN
466
00:28:07,068 --> 00:28:14,075
BUT I'M VOTING FOR ANTHONY
HOPKINS.
467
00:28:14,075 --> 00:28:16,944
I THINK COLIN IS A SLEEPER.
468
00:28:16,944 --> 00:28:22,150
>> THAT SCENE WITH THE DONKEY IN
"BANSHEES" --
469
00:28:22,150 --> 00:28:23,151
>> NO SPOILERS.
470
00:28:23,151 --> 00:28:26,888
>> FOR ANIMAL LOVERS, THAT ONE
GOT ME.
471
00:28:26,888 --> 00:28:29,057
WE'LL STAY TUNED AND CHECK BACK
LATER ON.
472
00:28:29,057 --> 00:28:32,160
MORE PREDICTIONS COMING UP, AS
WELL AS MORE INTERVIEWS WITH
473
00:28:32,160 --> 00:28:36,097
SOME OF YOUR FAVORITE NOMINEES,
AND AFTER THE BREAK, WE'LL TALK
474
00:28:36,097 --> 00:28:39,200
ABOUT THOSE OSCARS FASHIONS.
OUR STYLE EXPERT JOINS US NEXT.
475
00:28:39,200 --> 00:28:40,301
STAY WITH US.
476
00:28:53,114 --> 00:28:57,218
>>> IT HAS BEEN AMAZING.
IT'S HARD TO EXPLAIN IN WORDS,
477
00:28:57,218 --> 00:29:03,291
BECAUSE IT'S A MIXTURE OF SORT
OF LIKE DISBELIEF, BUT ALSO PURE
478
00:29:03,291 --> 00:29:04,926
JOY.
479
00:29:04,926 --> 00:29:09,931
>> AND THAT IS JUST ONE OF THE
TALENTED NOMINEES YOU MAY NOT
480
00:29:09,931 --> 00:29:13,201
RECOGNIZE IN THE SPOT LIGHT
TONIGHT WITH THE WORLD'S BIGGEST
481
00:29:13,201 --> 00:29:19,240
MOVIES HERE AT THE 95th ANNUAL
ACADEMY AWARDS, AND THE FAMOUS
482
00:29:19,240 --> 00:29:21,142
CARPET THEY WILL WALK DOWN.
483
00:29:21,142 --> 00:29:27,482
>> 50,000 SQUARE FEET OF THIS
CHAMPAGNE CARPET.
484
00:29:27,482 --> 00:29:31,252
TONIGHT'S CEREMONY WILL BE BROAD
CAST LIVE IN MORE THAN 200
485
00:29:31,252 --> 00:29:33,921
COUNTRIES AND TERRITORIES AROUND
THE WORLD.
486
00:29:33,921 --> 00:29:37,225
SIT A GLOBAL SPECTACLE TO SAY
THE LEAST.
487
00:29:37,225 --> 00:29:41,329
>> MANY ADMIT THEY LOVE THE
OSCAR AS MUCH FOR THE FASHION AS
488
00:29:41,329 --> 00:29:45,366
THE AWARDS.
IN A WAY, THE RED CARPET, OR
489
00:29:45,366 --> 00:29:49,303
CHAMPAGNE CARPET THIS YEAR, IS
THE BIGGEST FASHION RUNWAY IN
490
00:29:49,303 --> 00:29:50,104
THE WORLD.
491
00:29:50,104 --> 00:29:55,376
>> I COUNT MYSELF AS ONE OF
THOSE FANS THAT LOVE TO SEE WHAT
492
00:29:55,376 --> 00:29:59,046
THE STARS ARE WEARING.
FIRST OF ALL, YOU ARE LOOKING
493
00:29:59,046 --> 00:30:02,049
EXTRAORDINARY.
I TRIED TO TELL WHIT, DON'T BE
494
00:30:02,049 --> 00:30:04,118
AFRAID TO GO WITH THE BIG BOW
TIE.
495
00:30:04,118 --> 00:30:09,190
>> I HAVE BOW TIE ENVY.
BUT YOU WEAR IT MUCH BETTER.
496
00:30:09,190 --> 00:30:12,160
>> I'VE GOT TO PULL OUT ALL THE
STOPS.
497
00:30:12,160 --> 00:30:15,163
OF COURSE, IT IS GREAT TO BE
BACK AGAIN WITH YOU GUYS THIS
498
00:30:15,163 --> 00:30:19,167
YEAR. JUST TO RECAP WHAT'S BEEN A
STELLAR AWARD SEASON WHEN IT
499
00:30:19,167 --> 00:30:22,203
COMES TO FASHION, FROM RELIABLE
RED CARPET ICONS TO BREAKOUT
500
00:30:22,203 --> 00:30:25,273
STYLE STARS, HERE IS A LOOK AT
SOME OF THE LOOKS AND TRENDS WE
501
00:30:25,273 --> 00:30:30,378
HAVE SEEN LEADING UP TO TONIGHT.
502
00:30:30,378 --> 00:30:36,417
AWARD SEASON GLAM IS BACK, BABY.
THIS SEASON HAS BEEN ALL ABOUT
503
00:30:36,417 --> 00:30:40,121
BIG VOLUME. BRIGHT COLORS.
504
00:30:40,121 --> 00:30:45,326
>> I FEEL LIKE FORRESE, LESS WAS
MORE. OH, NO, MORE IS MORE.
505
00:30:45,326 --> 00:30:50,465
WE'RE GOING FULL MAKEUP.
IT USED TO BE ABOUT FRESH SKIN.
506
00:30:50,465 --> 00:30:56,170
NO, NO, THE EYES ARE BACK.
JAMIE LEE CURTIS, HER MAKEUP
507
00:30:56,170 --> 00:30:59,340
PAIRED WITH THE HAIR, HAS BEEN
WONDERFUL.
508
00:30:59,340 --> 00:31:03,311
I'M LOVING THE WAY THAT THE
PIXIE KIND OF PLAYS OFF THE
509
00:31:03,311 --> 00:31:07,081
ENTIRE OUTFIT SHE'S BEEN WEARING.
SHE'LL GIVE US EYE WEAR.
510
00:31:07,081 --> 00:31:09,183
AND THEN THERE'S A SMOLDERING
EYE UNDERNEATH.
511
00:31:09,183 --> 00:31:12,453
>> WHILE WE'RE TALKING ABOUT
SMOLDERS, HOW ABOUT THOSE
512
00:31:12,453 --> 00:31:19,327
SMOLDERING GAZES INTO THE CAMERA
FROM AUSTIN BUTLER.
513
00:31:19,327 --> 00:31:25,199
>> WE COULD GO ON ABOUT THE
514
00:31:25,199 --> 00:31:30,037
PERFECT HAIR, IT STANDS STRAIGHT
UP, AND THEN YOU LOOK AT HIS
515
00:31:30,037 --> 00:31:34,208
EYES, IT'S LIKE HE'S STAIRING
INTO YOUR SOUL.
516
00:31:34,208 --> 00:31:39,313
ASIDE FROM THE FABULOUS TUXEDOES
THAT HE'S GIVEN US, IT'S A
517
00:31:39,313 --> 00:31:45,353
BEAUTY MOMENT FOR AUSTIN.
I THINK ELVIS WOULD BE PROUD.
518
00:31:45,353 --> 00:31:52,360
>> ANA de ARMAS IS NOMINATED FOR
PLAYING ANOTHER ICON IN
519
00:31:52,360 --> 00:31:53,060
"BLONDE."
520
00:31:53,060 --> 00:32:02,503
BUT IT WAS RED CARPET QUEEN S
521
00:32:02,503 --> 00:32:02,603
SENSAYA.
522
00:32:02,603 --> 00:32:10,411
>> WE'VE SEEN IT ON OTHERS, WITH
THOSE REALLY ROMANTIC WAVES.
523
00:32:10,411 --> 00:32:16,017
IT ADDS TO THAT EVENING GLAMOUR
WE'RE GOING TO SEE A LOT MORE OF.
524
00:32:16,017 --> 00:32:22,056
>> WE'VE SEEN BIG SLEEVES, BIG
SHOULDERS, LOTS OF SPARKLE ON
525
00:32:22,056 --> 00:32:27,061
FASHION'S BREAKOUT STARS.
526
00:32:27,061 --> 00:32:33,301
AND RELIABLE RED CARPET ICONS.
527
00:32:33,301 --> 00:32:36,337
>> ANGELA BASSETT DID THE THING.
I HAD TO DO IT.
528
00:32:36,337 --> 00:32:40,207
SHE'S DONE THE THING EVERY
SINGLE TIME SHE STEPS ON THE
529
00:32:40,207 --> 00:32:44,278
CARPET. THE HAIR IS DRAMATIC.
THE DRESSES ARE DRAMATIC.
530
00:32:44,278 --> 00:32:47,448
THE MAKEUP IS FLAWLESS.
531
00:32:47,448 --> 00:32:52,320
>> EIGHT-TIME NOMINEE AND RED
CARPET ROYALTY CATE BLANCHETT IS
532
00:32:52,320 --> 00:32:57,124
CEMENTING HER STYLE ICON TAT TUS
BY CONTINUING TO SHOP HER
533
00:32:57,124 --> 00:33:01,462
CLOSET, REWEARING MULTIPLE PAST
LOOKS THIS SEASON.
534
00:33:01,462 --> 00:33:05,232
UPDATING HER 2015 OSCAR DRESS,
535
00:33:05,232 --> 00:33:12,473
AND HER ARMANNI LOOK AT THE
S.A.G. AWARDS WAS THE THIRD TIME
536
00:33:12,473 --> 00:33:16,410
SHE WORE THE GOWN.
I CAN'T WAIT TO SEE IF SHE
537
00:33:16,410 --> 00:33:20,448
RECYCLES ONE OF THESE ICONIC
LOOKS TONIGHT, WHETHER OR NOT
538
00:33:20,448 --> 00:33:27,221
SHE TAKES HOME THAT GOLDEN GOD.
OF COURSE, CATE BLANCHETT ISN'T
539
00:33:27,221 --> 00:33:30,491
THE ONLY PERSON WHO HAS BEEN
DIGGING BACK THROUGH HER FASHION
540
00:33:30,491 --> 00:33:32,293
ARCHIVES.
THIS SEASON, WE HAVE SEEN SOME
541
00:33:32,293 --> 00:33:39,200
OF THE YOUNGER STAR LETS WEARIN
VINTAGE PIECES OLDER THAN THEY
542
00:33:39,200 --> 00:33:46,641
ARE.
AND ZENDAYA WAS IN VERSACE FROM
543
00:33:46,641 --> 00:33:50,244
2002.
AT THAT SAME SHOW, SHE CHANGED
544
00:33:50,244 --> 00:33:53,114
MID SHOW FROM VINTAGE PRADA FROM
1993.
545
00:33:53,114 --> 00:33:56,517
JUST TO GIVE YOU CONTEXT, SHE
WAS BORN IN 1996.
546
00:33:56,517 --> 00:34:03,190
AND THEN, OF COURSE, OLIVIA
RODRIGO.
547
00:34:03,190 --> 00:34:09,296
THESE ARE CLEARY BY STELLA
McCARTNEY PANTS FROM 2001.
548
00:34:09,296 --> 00:34:16,504
OF COURSE, THEY'RE ALSO SEEN ON
CARRIE BRADSHAW IN AN EPISODE OF
549
00:34:16,504 --> 00:34:21,509
"SEX IN THE CITY."
OF COURSE, IT'S NOT ENOUGH FOR
550
00:34:21,509 --> 00:34:25,546
THESE YOUNG STARS TO WANT A
CUSTOM GOWN, NOW THEY HAVE TO GO
551
00:34:25,546 --> 00:34:26,480
ARCHIVE DIVING.
552
00:34:26,480 --> 00:34:30,384
>> WE'VE BEEN DOING SOME ARCHIVE
DIVING AROUND HERE BY THE WAY.
553
00:34:30,384 --> 00:34:34,622
YOU KNOW WHAT I NOTICED THERE?
AUSTIN BUTLER, THE JUMBO BOW TIE.
554
00:34:34,622 --> 00:34:37,358
>> YOU MISSED OUT.
555
00:34:37,358 --> 00:34:42,296
>> I HAVE IT IN MY BAG.PWHEN YO
JAMES BOND.
556
00:34:42,296 --> 00:34:48,335
WHEN I WEAR IT, I LOOK LIKE BOZO
THE CLOWN. THANK YOU SO MUCH.
557
00:34:48,335 --> 00:34:53,541
AS YOU MENTIONED, CATE BLANCHETT
IS OFF AND ON THE BEST DRESSED
558
00:34:53,541 --> 00:34:57,244
LIST, AND ALREADY A TWO-TIME
OSCAR WINNER IS NOMINATED
559
00:34:57,244 --> 00:35:02,583
TONIGHT FOR HER PORTRAYAL OF A
TROUBLED MUSE CAM CONDUCTOR IN
560
00:35:02,583 --> 00:35:07,221
"TAR" AND CHRIS CONLEY HAD A
CHANCE TO SIT DOWN WITH HER.
561
00:35:07,221 --> 00:35:10,591
>> NOW IS THE TIME TO CONDUCT
MUSIC THAT ACTUALLY REQUIRES
562
00:35:10,591 --> 00:35:17,431
SOMETHING OF YOU.
NEW MUSIC THAT EVERYBODY KNOWS
563
00:35:17,431 --> 00:35:20,434
BT WILL HEAR DIFFERENTLY WHEN
YOU INTERPRET IT FOR THEM.
564
00:35:20,434 --> 00:35:25,406
>> I'M STRUCK BY HOW BRILLIANTLY
YOU INHABIT THE INTELLECTUAL
565
00:35:25,406 --> 00:35:26,674
UNDERSTANDING OF BEING A
CONDUCTOR.
566
00:35:26,674 --> 00:35:29,543
DOES THAT BECOME SOMETHING THAT
ENHANCES YOUR OWN LIFE, THE
567
00:35:29,543 --> 00:35:32,213
KNOWLEDGE YOU TAKE ON AS YOU
PLAY A ROLE LIKE THIS?
568
00:35:32,213 --> 00:35:37,585
>> LOOK, IT'S A FORM OF ACTIVE
ANTHROPOLOGY FOR ME, IN A WAY.
569
00:35:37,585 --> 00:35:41,288
ACTING, I DON'T WANT TO SOUND
TOO --
570
00:35:41,288 --> 00:35:42,590
>> GO RIGHT AHEAD.
571
00:35:42,590 --> 00:35:46,494
>> THANK YOU.
I'M GLAD YOU ASKED THAT.
572
00:35:46,494 --> 00:35:53,300
BUT IT'S A WAY OF ACTUALLY
FINDING OUT ABOUT A POPULAR LIFE
573
00:35:53,300 --> 00:35:57,404
THAT YOU THINK YOU HAVE
UNDERSTOOD BUT YOU REALIZE YOU
574
00:35:57,404 --> 00:36:01,342
KNOW NEXT TO NOTHING ABOUT.
SO I APPRECIATE A CLASSICAL
575
00:36:01,342 --> 00:36:04,745
MUSIC AS A PUNTER, BUT I WAS
NEVER ABLE TO GIVE LANGUAGE TO
576
00:36:04,745 --> 00:36:10,317
THE FEELING I HAD.
AND SO TO EMBODY LIDIA TAR WAS
577
00:36:10,317 --> 00:36:13,320
TO SORT OF BRING THE HEART AND
MIND TOGETHER.
578
00:36:13,320 --> 00:36:21,495
♪
579
00:36:21,495 --> 00:36:24,765
MUSIC IS ALL ABOUT PRESENCE.
YOU BREATHE IN THE INSPIRATION,
580
00:36:24,765 --> 00:36:30,638
AND THE MUSIC SOUNDS AS
EX-HILATION.
581
00:36:30,638 --> 00:36:32,339
SO IT'S ALL ABOUT BREATHING WITH
582
00:36:32,339 --> 00:36:42,283
THE AUDIENCE AND THE ORCHESTRA.
583
00:36:42,283 --> 00:36:43,584
>> BEAUTIFUL.
584
00:36:43,584 --> 00:36:46,554
>> I WAS PREPARING DURING THE
PANDEMIC, SO ALL OF THIS WAS
585
00:36:46,554 --> 00:36:49,657
HAPPENING FOR ME ONLINE.
BUT TO WATCH THESE CONDUCTORS
586
00:36:49,657 --> 00:37:00,668
AND HOW ID IDYOSYNCRATIC, GIVEN
587
00:37:00,668 --> 00:37:04,371
THAT CONDUCTING IS A FORM OF
COMMUNICATION, ACTING IS A FORM
588
00:37:04,371 --> 00:37:06,507
OF COMMUNICATION.
IT'S A WAY OF BRINGING, I
589
00:37:06,507 --> 00:37:10,444
SUPPOSE, A SKILLSET THAT I LOVE
TO A SKILLSET THAT I KNEW
590
00:37:10,444 --> 00:37:16,717
NOTHING ABOUT.
591
00:37:16,717 --> 00:37:19,720
>> SO GREAT TO TALK TO HER ABOUT
THAT AMAZING PERFORMANCE.
592
00:37:19,720 --> 00:37:25,759
IF ANY OF YOU SAW "TAR" AND THE
WEIRD AL YANUKOVYCH TV MOVIE
593
00:37:25,759 --> 00:37:30,464
"WEIRD" YOU KNOW WHAT A YEAR IT
WAS FOR MAJOR STARS PLAYING THE
594
00:37:30,464 --> 00:37:35,436
ACCORDION ON SCREEN.
SO WHEN SHE ACCEPTED HER AWARD
595
00:37:35,436 --> 00:37:40,407
IN JANUARY, SHE PRAISED THE WORK
OF ANDREA RISEBOROUGH FOR HER
596
00:37:40,407 --> 00:37:45,412
LEAD PERFORMANCE IN A LITTLE
SEEN FILM CALLED "TO LESLIE."
597
00:37:45,412 --> 00:37:51,552
NINE DAYS LATER, SHE SHOCKED THE
WORLD BY BACKING AN ACADEMY
598
00:37:51,552 --> 00:37:55,522
AWARD NOMINEE.
IT'S BECOME THE FOCUS OF A MAJOR
599
00:37:55,522 --> 00:37:57,424
CONTROVERSY.
HOW ABOUT YOU GUYS FOR MORE?
600
00:37:57,424 --> 00:37:59,526
>> ABSOLUTELY, CHRIS.
THANK YOU SO MUCH.
601
00:37:59,526 --> 00:38:00,861
THAT'S BEEN GETTING A LOT OF
ATTENTION.
602
00:38:00,861 --> 00:38:06,567
WE WANT TO LEARN MORE ABOUT THAT
CONTROVERSY, SO WE BROUGHT BACK
603
00:38:06,567 --> 00:38:08,903
ELIZABETH AND CLAYTON WHO
COVERED THAT STORY.
604
00:38:08,903 --> 00:38:13,841
CLAYTON, WHAT WAS IT
SPECIFICALLY ABOUT THE ANDREA
605
00:38:13,841 --> 00:38:15,843
RISEBOROUGH CAMPAIGN THAT MADE
IT CONTROVERSIAL?
606
00:38:15,843 --> 00:38:20,614
>> SHE RECRUITED A LOT OF HEAVY
HITTERS, SALLY FIELD, JANE
607
00:38:20,614 --> 00:38:25,419
FONDA, COMING OUT TO BAT FOR HER.
MARY McCORMICK, THE WIFE OF
608
00:38:25,419 --> 00:38:29,690
MICHAEL MORRIS, WHO IS THE
DIRECTOR OF "TO LESLIE," CAME IN
609
00:38:29,690 --> 00:38:35,529
THERE, WERE GETTING DIRECT CALLS
TO MEMBERS, WHICH IS A BIG
610
00:38:35,529 --> 00:38:37,731
NO-NO.
AND THEN THEY HAD, OBVIOUSLY,
611
00:38:37,731 --> 00:38:40,567
THEIR BIG GATHERING OF EVENTS,
PRIVATE EVENTS.
612
00:38:40,567 --> 00:38:43,437
YOU CANNOT DO THAT IN THE
ACADEMY CIRCLES.
613
00:38:43,437 --> 00:38:45,706
AND THEY GOT, YOU KNOW, CALLED
OUT FOR IT.
614
00:38:45,706 --> 00:38:48,709
BUT THIS HAPPENS A LOT IN THE
BUSINESS, BUT THEY WERE MUCH
615
00:38:48,709 --> 00:38:49,743
MORE LOUDER ABOUT IT.
616
00:38:49,743 --> 00:38:53,047
>> ELIZABETH, THE ACADEMY DID
ALLOW HER TO KEEP HER NOMINATION.
617
00:38:53,047 --> 00:38:56,583
DO YOU THINK THAT GOING FORWARD,
THE GUIDELINES SHOULD BE CHECKED
618
00:38:56,583 --> 00:38:57,718
OUT A LITTLE BIT MORE?
619
00:38:57,718 --> 00:38:59,753
>> I THINK THAT THEY ARE GOING
TO BE.
620
00:38:59,753 --> 00:39:02,856
THE ACADEMY DID SAY THEY WERE
CONDUCTING A REVIEW AND THEY
621
00:39:02,856 --> 00:39:07,528
WILL LOOK AT THE GUIDELINES FOR
NEXT YEAR IN THIS AGE OF SOCIAL
622
00:39:07,528 --> 00:39:09,897
MEDIA.
A LOT OF THIS PLAYED OUT ON
623
00:39:09,897 --> 00:39:13,734
INSTAGRAM AND ACROSS DIFFERENT
SOCIAL MEDIA PLATFORMS BECAUSE
624
00:39:13,734 --> 00:39:17,938
AS CLAYTON MENTIONED, A LOT OF
A-LISTERS WERE CAMPAIGNING FOR
625
00:39:17,938 --> 00:39:22,676
HER. OF COURSE, YOU CAN'T SAY NO
CAMPAIGNING ON INSTAGRAM.
626
00:39:22,676 --> 00:39:27,915
BUT ONE OF THE BIG NO-NOES THAT
WENT AGAINST ACADEMY GUIDELINES
627
00:39:27,915 --> 00:39:31,852
IS MENTIONING ANOTHER NOMINEE.
YOU CAN'T MENTION SOMEONE ELSE
628
00:39:31,852 --> 00:39:34,621
THAT COULD BE NOMINATED IN THE
SAME CATEGORY AS YOU.
629
00:39:34,621 --> 00:39:41,762
AND BY THEY, I MEAN, THEY POSTED
A REVIEW THAT MENTIONED CATE
630
00:39:41,762 --> 00:39:41,895
BLANCHETT.
631
00:39:41,895 --> 00:39:46,533
>> FOR PEOPLE NOT INSIDERS IN
ALL THIS SAYING WHAT ABOUT THE
632
00:39:46,533 --> 00:39:51,839
BIG BUDGET MOVIEMAKERS, THE
STUDIOS OUT THERE WHO ARE DOING
633
00:39:51,839 --> 00:39:55,943
THESE FOR YOUR CONSIDERATION
CAMPAIGNS, HOW IS THIS ANY
634
00:39:55,943 --> 00:39:56,610
DIFFERENT?
635
00:39:56,610 --> 00:39:58,779
>> THE BIG DIFFERENCE IS, NOT
636
00:39:58,779 --> 00:40:06,620
ALL ACTRESSES ARE CREATED EQUAL,
637
00:40:06,620 --> 00:40:10,824
RIGHT?
VIOLA DAVIS "THE WOMAN KING" NOT
638
00:40:10,824 --> 00:40:13,761
NOMINATED.
WE ARE 21 YEARS AFTER HALLE
639
00:40:13,761 --> 00:40:17,898
BARRY BECAME THE FIRST BLACK
WOMAN TO WIN BEST ACTRESS, AND
640
00:40:17,898 --> 00:40:20,667
WE HAVE YET TO HAVE ANOTHER ONE.
IT'S NOT ANDREA RISEBOROUGH'S
641
00:40:20,667 --> 00:40:25,873
FAULT, BUT I DON'T SEE THAT SAME
ENERGY FOR BLACK WOMEN IN THIS
642
00:40:25,873 --> 00:40:28,976
BUSINESS WHEN THEY NEED SOME
EXTRA HELP TO GET THEM OVER THE
643
00:40:28,976 --> 00:40:30,811
FINISH LINE.
WHAT IS CAN HAPPEN WHEN YOU
644
00:40:30,811 --> 00:40:34,581
DON'T HAVE THOSE BIG A-LISTER
FRIENDS, WHAT CAN ONE DO?
645
00:40:34,581 --> 00:40:38,585
>> THAT'S THE QUESTION HERE.
WAS SHE AND THE FILM, WERE THEY
646
00:40:38,585 --> 00:40:42,022
BEING SAVVY AND SMART BY
GATHERING THEIR A-LIST FRIENDS
647
00:40:42,022 --> 00:40:44,992
OR GOING AGAINST THE RULES?
IN THE BEGINNING WHEN THIS
648
00:40:44,992 --> 00:40:48,695
NOMINATION CAME OUT, I WAS WITH
CHRIS CONLEY, WE WERE ON "GOOD
649
00:40:48,695 --> 00:40:51,665
MORNING AMERICA" WE WERE SHOCKED
WHEN HER NAME WAS ANNOUNCED.
650
00:40:51,665 --> 00:40:55,803
THE FIRST REACTION WAS, THIS IS
WONDERFUL.
651
00:40:55,803 --> 00:41:03,677
BUT NOT EVERYBODY HAS THIS $100
MILLION BUDGETS FOR MARKETING
652
00:41:03,677 --> 00:41:07,014
AND OSCAR CAMCAMPAIGNS.
BUT IT SEEMED LIKE THEY WERE
653
00:41:07,014 --> 00:41:08,015
MUDDYING THE WATERS.
654
00:41:08,015 --> 00:41:10,951
>> SHE DID HAVE A GREAT
PERFORMANCE.
655
00:41:10,951 --> 00:41:14,021
I HAVE FAMILY MEMBERS WHO
STRUGGLED WITH ADDICTION.
656
00:41:14,021 --> 00:41:16,857
THERE'S SOMETHING VERY REAL
ABOUT HER PERFORMANCE IN THIS
657
00:41:16,857 --> 00:41:18,725
FILM.
BUT RULES ARE RULES AND YOU HAVE
658
00:41:18,725 --> 00:41:19,626
TO FOLLOW THEM.
659
00:41:19,626 --> 00:41:23,063
>> THAT'S A GOOD POINT, BECAUSE
HER PERFORMANCE WAS INCREDIBLE,
660
00:41:23,063 --> 00:41:24,665
AND NOBODY CAN DENY THAT.
661
00:41:24,665 --> 00:41:27,801
>> A LOT OF PEOPLE FEEL THAT
SOME WERE SNUBBED.
662
00:41:27,801 --> 00:41:33,607
MORE ON THAT IN A LITTLE BIT.
A LOT MORE COMING UP ON OUR
663
00:41:33,607 --> 00:41:35,008
COUNTDOWN.
UP NEXT, MY CONVERSATION WITH
664
00:41:35,008 --> 00:41:42,716
THE LEGENDARY ANGELA BASSETT.
AND WE'LL TAKE A LOOK AT SOME OF
665
00:41:42,716 --> 00:41:44,184
HER EARLIEST ACTING ROLES BEFORE
SHE WAS FAMOUS.
666
00:41:44,184 --> 00:41:46,587
WE'LL BE RIGHT BACK.
667
00:41:56,864 --> 00:42:00,801
>>> WELCOME BACK TO HOLLYWOOD
AND OUR COUNTDOWN TO THE 95th
668
00:42:00,801 --> 00:42:03,770
ANNUAL ACADEMY AWARDS.
YOU'RE LOOKING LIVE OUTSIDE THE
669
00:42:03,770 --> 00:42:08,075
SCENE OF THE DOLBY THEATRE WHERE
THOSE COVETED GOLD STATUETTES
670
00:42:08,075 --> 00:42:09,109
WILL BE HANDED OUT.
671
00:42:09,109 --> 00:42:14,047
>> HERE'S A LITTLE OSCAR TRIVIA
ABOUT THOSE STATUETTES.
672
00:42:14,047 --> 00:42:18,619
THEY ARE SOLID BRONZE AND PLATED
IN 24 CARAT GOLD.
673
00:42:18,619 --> 00:42:26,093
BUT DURING WORLD WAR II, DUE TO
A SHORTAGE OF METAL, THEY WERE
674
00:42:26,093 --> 00:42:30,797
MADE WITH PAINTED PLASTER.
FOLLOWING THE WAR, THEY TRADED
675
00:42:30,797 --> 00:42:33,066
THEM IN AND GOT THE REAL THING
EVENTUALLY.
676
00:42:33,066 --> 00:42:38,772
AND WINNERS OFTEN COMMENT ABOUT
HOW HEAVY THE OSCAR IS.
677
00:42:38,772 --> 00:42:42,743
HE WEIGHS 8 1/2 POUNDS AND HAS
NOT GAINED AN OUNCE SINCE 1929.
678
00:42:42,743 --> 00:42:45,846
WE GOT TO HOLD HIM THE OTHER
DAY, TOO.
679
00:42:45,846 --> 00:42:51,051
>> YOU DID. I DID NOT.
OSCAR LOOKS QUITE LIKE YOU WITH
680
00:42:51,051 --> 00:42:53,887
THE HIGH CHEEKBONES, THE CUTE
LITTLE SAW.
681
00:42:53,887 --> 00:42:58,825
>> YOU ARE GIVING THAT OSCAR
STATUE A RUN FOR HIS MONEY WITH
682
00:42:58,825 --> 00:43:00,861
THAT DRESS TODAY.
683
00:43:00,861 --> 00:43:03,964
>> WE TURN NOW TO THE TALENTED
WOMEN NOMINATED FOR BEST
684
00:43:03,964 --> 00:43:05,933
SUPPORTING ACTRESS.
EACH ONE WILL TELL YOU THAT SHE
685
00:43:05,933 --> 00:43:10,938
SPENT A LOT OF TIME EARLY ON
JUST TRYING TO GET NOTICED BY
686
00:43:10,938 --> 00:43:15,742
THE RIGHT MOVIE PRODUCER ON A
SITCOM OR TV COMMERCIAL.
687
00:43:15,742 --> 00:43:20,847
>> WHETHER IT WAS TRYING TO
ESCAPE A ZOMBIE APOCALYPSE OR A
688
00:43:20,847 --> 00:43:23,917
BROADWAY SHOW, THIS YEAR'S
NOMINEES WORKED VERY HARD TO GET
689
00:43:23,917 --> 00:43:29,923
HERE TONIGHT.
AND HERE NOW ARE THOSE BEST
690
00:43:29,923 --> 00:43:32,726
SUPPORTING ACTRESS CONTENDERS
BEFORE THEY WERE NOMINEES.
691
00:43:32,726 --> 00:43:37,064
>> I WAS JUST HOPING THAT YOU
COULD EXPLAIN THIS.
692
00:43:37,064 --> 00:43:41,034
>> JAMIE LEE CURTIS PLAYED A
GRUMPY IRS INSPECTOR IN
693
00:43:41,034 --> 00:43:43,103
"EVERYTHING EVERYWHERE ALL AT
ONCE."
694
00:43:43,103 --> 00:43:48,208
>> NOW, YOU MAY ONLY SEE A PILE
OF BORING FORMS AND NUMBERS, BUT
695
00:43:48,208 --> 00:43:49,776
I SEE A STORY.
696
00:43:49,776 --> 00:43:53,213
>> SHE ADMITS THAT GROWING UP
THE CHILD OF HOLLYWOOD ROYALTY
697
00:43:53,213 --> 00:43:59,086
HELPED HER GET A FOOTHOLD IN MID
'70s TELEVISION.
698
00:43:59,086 --> 00:44:05,926
SHE WAS STILL A TEENAGER ON
"QUINCY."
699
00:44:05,926 --> 00:44:08,996
HERE AS A WAITRESS ON "COLUMBO."
700
00:44:08,996 --> 00:44:11,765
>> I CAN COME BACK.
701
00:44:11,765 --> 00:44:16,003
>> AND ON "CHARLIE'S ANGELS," A
PRO GOLFER NEEDING PROTECTION.
702
00:44:16,003 --> 00:44:18,005
>> IF SOMEBODY WANTS TO KILL
YOU --
703
00:44:18,005 --> 00:44:20,240
>> NO MATTER WHAT HAPPENS, I'M
NOT BACKING OUT.
704
00:44:20,240 --> 00:44:23,143
>> AND A GUEST SPOT ON "THE LOVE
BOAT."
705
00:44:23,143 --> 00:44:28,115
>> THE LAST TIME I HAD CORNISH
GAME HEN IS THE NIGHT YOU
706
00:44:28,115 --> 00:44:30,117
PROPOSED ME.
707
00:44:30,117 --> 00:44:32,219
>> EVEN HER MOM SHOWS UP ON
BOARD.
708
00:44:32,219 --> 00:44:34,788
BUT WE LOVE FIND THING RARE GEM.
709
00:44:34,788 --> 00:44:37,924
>> WHEN DID THE PENAL SYSTEM GO
COED?
710
00:44:37,924 --> 00:44:43,163
>> JAMIE PLAYING A PRISONER ON
"BUCK ROGERS."
711
00:44:43,163 --> 00:44:47,868
>> I DON'T CARE ABOUT YOU, SO
STOP PRETENDING LIKE YOU CARE
712
00:44:47,868 --> 00:44:50,003
FOR ME AND LEAVE ME ALONE!
713
00:44:50,003 --> 00:44:51,004
>> SO CUTE.
714
00:44:51,004 --> 00:44:57,844
>> HER CO-STAR, STEPHANIE SHU,
BRAVES THE MULTIVERSE IN
715
00:44:57,844 --> 00:44:58,278
"EVERYTHING EVERYWHERE ALL AT
ONCE."
716
00:44:58,278 --> 00:45:02,382
>> HEY, EVALYN. BAGEL.
717
00:45:02,382 --> 00:45:09,122
>> HER BREAKOUT ROLE PLAYING
MAY, EXPLORING HER INTERRACIAL
718
00:45:09,122 --> 00:45:11,124
RELATIONSHIP WITH JOEL IN 1960s
NEW YORK.
719
00:45:11,124 --> 00:45:13,093
>> WHAT'S THE SONG ABOUT?
720
00:45:13,093 --> 00:45:18,065
>> THE USUAL STUFF.
BOY MEETS GIRL, BOY LOSES GIRL,
721
00:45:18,065 --> 00:45:21,068
GIRL BUYS KNIFE WITH 12-INCH
BLADE.
722
00:45:21,068 --> 00:45:24,338
>> AND PROTESTING RACIAL
STEREOTYPES.
723
00:45:24,338 --> 00:45:31,244
>> THE WHOLE PORTRAYAL IS
FACIAL. A GEISHA, SERIOUSLY?
724
00:45:31,244 --> 00:45:34,948
WHY WOULDN'T SHE BE A SUCCESSFUL
BUSINESSWOMAN OR A PROFESSOR OR
725
00:45:34,948 --> 00:45:36,850
STAY AT HOME DAD?
726
00:45:36,850 --> 00:45:40,153
>> I LOVE THAT PILLOW.
THAT WILL LOOK SO GOOD IN MY
727
00:45:40,153 --> 00:45:40,987
APARTMENT.
728
00:45:40,987 --> 00:45:45,125
>> PLAYING GWYNETH PALTROW'S
ASSISTANT.
729
00:45:45,125 --> 00:45:50,263
THAT'S HER, STEALING ITEMS FROM
THE GREEN ROOM FOR GWYNETH.
730
00:45:50,263 --> 00:45:56,069
AND "GMA" WENT BEHIND SCENES
WHEN "BE MORE CHILL" APPEARED ON
731
00:45:56,069 --> 00:46:01,041
BROADWAY IN 2018.
KERRY CONDON IS NOMINATED FOR
732
00:46:01,041 --> 00:46:05,078
HER ROLE AS COLIN FARRELL'S
SISTER IN "THE BANSHEES OF
733
00:46:05,078 --> 00:46:05,245
INISHERIN."
734
00:46:05,245 --> 00:46:09,216
>> LUCKILY YOU WON'T HAVE TO PUT
UP WITH US MORE THAN ONE NIGHT.
735
00:46:09,216 --> 00:46:12,119
SO TRY EATING WITH YOUR MOUTH
CLOSED.
736
00:46:12,119 --> 00:46:15,255
>> SHE PLAYS THE DAUGHTER OF
HITMAN MIKE ON "BETTER CALL
737
00:46:15,255 --> 00:46:17,157
SAUL."
738
00:46:17,157 --> 00:46:19,259
>> WOW.
739
00:46:19,259 --> 00:46:26,166
>> AND TRIES TO SURVIVE A ZOMBIE
APOCALYPSE ON "THE WALKING
740
00:46:26,166 --> 00:46:26,299
DEAD."
741
00:46:26,299 --> 00:46:29,903
>> I CAN'T DO THINGS LIKE THIS.
LET ME BE WITH HIM.
742
00:46:29,903 --> 00:46:35,375
>> YOU NEVER SEE HER, BUT IN
CAPTAIN AMERICA'S SILVER WAR, DO
743
00:46:35,375 --> 00:46:49,389
YOU RECOGNIZE THAT ACCENT?
744
00:46:49,389 --> 00:46:55,362
AND HUNG CHAU IS NOMINATED FOR
"THE WHALE."
745
00:46:55,362 --> 00:47:01,435
WE FOUND HER AS A CHATTY
WAITRESS ON "GOOD LUCK CAB."
746
00:47:01,435 --> 00:47:06,039
AS A LAB TECH ON "NCIS."
747
00:47:06,039 --> 00:47:08,241
>> WE THINK YOU HAVE A DOUBLE
HOMICIDE ON YOUR HAD.
748
00:47:08,241 --> 00:47:13,013
>> A SECRETARY TURNED BOSS IN
"HOME COMING WITH BOBBY."
749
00:47:13,013 --> 00:47:15,148
>> I'M A PROBLEM SOLVER.
750
00:47:15,148 --> 00:47:17,417
>> YOU WERE A PROBLEM SOLVER.
BUT NOW YOU ARE A PROBLEM.
751
00:47:17,417 --> 00:47:19,986
I WANT YOUR HOUSE.
752
00:47:19,986 --> 00:47:24,291
>> AND A PREDATORY TRILLIONAIRE
IN "THE WATCHMAN."
753
00:47:24,291 --> 00:47:26,059
>> HOLD ON A MINUTE HERE.
754
00:47:26,059 --> 00:47:27,260
>> YOU DON'T HAVE A MINUTE.
755
00:47:27,260 --> 00:47:32,232
>> I HAVE TO GO WITH THESE GUYS
TO NORWAY.
756
00:47:32,232 --> 00:47:36,236
>> AND WOWS US IN "DOWN SIZING."
757
00:47:36,236 --> 00:47:42,175
>> I'M SO HAPPY. THANK YOU.
758
00:47:42,175 --> 00:47:50,150
>> THE LEGENDARY ANGELA BASSETT
IN "BLACK PANTHER: WAKANDA
759
00:47:50,150 --> 00:47:50,317
FOREVER."
760
00:47:50,317 --> 00:47:55,121
>> AND I WARNED YOU ABOUT TAKING
MY DAUGHTER ON THIS MISSION, AND
761
00:47:55,121 --> 00:47:57,224
YOU LOST HER.
762
00:47:57,224 --> 00:48:04,064
>> BACK IN 1985, SHE'S A
GRIEVING DAUGHTER ON "SPENCER
763
00:48:04,064 --> 00:48:07,067
FOR HIRE."
BLINK AND YOU'LL MISS HER AS A
764
00:48:07,067 --> 00:48:10,237
TV REPORTER IN THE THRILLER "FX."
765
00:48:10,237 --> 00:48:16,376
SHE'S SINGING IN "THE FLASH" AND
A FLIGHT ATTENDANT IN
766
00:48:16,376 --> 00:48:20,313
"KINDERGARTEN COP."
SHE GIVES UP HER SON IN "BOYS IN
767
00:48:20,313 --> 00:48:21,248
THE HOOD."
768
00:48:21,248 --> 00:48:25,452
>> I CAN'T TEACH HIM HOW TO BE A
MAN. THAT'S YOUR PROBLEM.
769
00:48:25,452 --> 00:48:31,191
>> AND RECLAIMS HER DAUGHTER ON
"227."
770
00:48:31,191 --> 00:48:36,062
AND HER APPEARANCES ON "GUIDING
LIGHT." "SEARCH FOR TOMORROW."
771
00:48:36,062 --> 00:48:37,330
>> YOU'RE MAD, RIGHT?
772
00:48:37,330 --> 00:48:40,400
>> ONLY DOGS GET MAD.
773
00:48:40,400 --> 00:48:46,506
>> AND BACK IN 1987, ONE OF HER
774
00:48:46,506 --> 00:48:50,410
VERY FIRST ROLE ON "RYAN'S HOPE."
775
00:48:50,410 --> 00:48:57,083
>> DON'T UNDERESTIMATE ME.
776
00:48:57,083 --> 00:48:59,452
>> THESE ARCHIVES ARE
EVERYTHING. ALL DAY.
777
00:48:59,452 --> 00:49:04,224
KEEP THEM COMING FOR SURE.
CAN'T BELIEVE ANGELA BASSETT
778
00:49:04,224 --> 00:49:07,027
SPENT SO MUCH TIME ON SOAP
OPERAS BEFORE FILM.
779
00:49:07,027 --> 00:49:10,096
BUT THOSE ROLES PREPARED HER FOR
THIS ICONIC CAREER.
780
00:49:10,096 --> 00:49:13,133
I KNOW YOU HAD A CHANCE TO SIT
DOWN WITH HER RECENTLY.
781
00:49:13,133 --> 00:49:16,336
>> JUST AS TALENTED AS SHE, IS
SHE'S JUST AS STUNNING.
782
00:49:16,336 --> 00:49:20,307
SHE'S 64 YEARS OLD.
SHE'S THE ORIGINAL BENJAMIN
783
00:49:20,307 --> 00:49:23,143
BUTTONS, AGING BACKWARDS AT THIS
POINT.
784
00:49:23,143 --> 00:49:26,179
HARD TO BELIEVE IT'S BEEN 30
YEARS SINCE SHE RECEIVED HER
785
00:49:26,179 --> 00:49:32,352
FIRST OSCAR NOMINATIONS.
TALKING ABOUT WHEN SHE DID
786
00:49:32,352 --> 00:49:39,426
TEACHA TEACH -- DID TINA TURNER.
AND NOW IN "BLACK PANTHER:
787
00:49:39,426 --> 00:49:39,659
WAKANDA FOREVER."
788
00:49:39,659 --> 00:49:42,062
>> CONGRATULATIONS ON NOMINATION
NUMBER TWO.
789
00:49:42,062 --> 00:49:42,529
>> THANK YOU.
790
00:49:42,529 --> 00:49:46,166
>> LAST TIME WAS 30 YEARS AGO.
HOW IS THIS TIME DIFFERENT?
791
00:49:46,166 --> 00:49:51,137
>> IT SEEMS A LITTLE MORE
HECTIC, BUT I'M JUST TRYING TO
792
00:49:51,137 --> 00:49:56,242
TAKE IT IN.
IT WAS A TOTAL SHOCK, YOU KNOW.
793
00:49:56,242 --> 00:50:00,080
THERE WAS A SURPRISING ELEMENT
FOR THIS.
794
00:50:00,080 --> 00:50:02,449
BUT IT'S ALL EXCITING, IT'S ALL
GREAT.
795
00:50:02,449 --> 00:50:09,589
>> WE KNOW WHAT YOU WHISPER.
796
00:50:09,589 --> 00:50:13,259
♪
797
00:50:13,259 --> 00:50:18,565
>> AS YOU WERE JUST MENTIONING,
798
00:50:18,565 --> 00:50:27,140
THE FIRST PERSON OF COLOR --
799
00:50:27,140 --> 00:50:28,575
>> HAVE I NOT GIVEN EVERYTHING!
800
00:50:28,575 --> 00:50:30,744
>> HAVE I NOT GIVEN EVERYTHING,
RIGHT?
801
00:50:30,744 --> 00:50:36,316
DID YOU REALIZE THE MAGNITUDE OF
YOUR PORTRAYAL AND HOW IT COULD
802
00:50:36,316 --> 00:50:38,551
REALLY LAND IN SUCH AN IMPACTFUL
WAY?
803
00:50:38,551 --> 00:50:42,522
>> OH, NO, I DIDN'T THINK THAT
FAR AHEAD.
804
00:50:42,522 --> 00:50:47,127
BUT I KNOW -- I FELT THE POWER,
EVEN IN THE FIRST READING OF THE
805
00:50:47,127 --> 00:50:50,597
SCRIPT, OF THAT LINE, OF THAT
MOMENT. AND THE TRUTH OF IT.
806
00:50:50,597 --> 00:50:55,602
YOU KNOW, HOW IT RESONATES FOR
SHE TRULY HAS, YOU KNOW, HER
807
00:50:55,602 --> 00:50:59,205
ENTIRE FAMILY.
AND SHE'S GIVEN HER LIFE AND
808
00:50:59,205 --> 00:51:00,340
ENERGY TO HER COUNTRY.
809
00:51:00,340 --> 00:51:04,577
>> TELL ME ABOUT THE DEPTH OF
THAT CHARACTER, BECAUSE SHE'S
810
00:51:04,577 --> 00:51:09,249
STRONG, BUT YET SHE'S VULNERABLE.
WHEN YOU HAVE THAT KIND OF WIDE
811
00:51:09,249 --> 00:51:13,353
RANGING EMOTION, DO YOU ENJOY
PLAYING A CHARACTER LIKE THAT?
812
00:51:13,353 --> 00:51:18,158
>> ABSOLUTELY.
IN ALL MY CHARACTERS, I TRIED TO
813
00:51:18,158 --> 00:51:19,626
FIND THAT.
I DON'T THINK WE'RE ONE THING,
814
00:51:19,626 --> 00:51:20,460
JUST STRONG.
815
00:51:20,460 --> 00:51:29,369
YOU KNOW, STRONG WITHOUT THAT
816
00:51:29,369 --> 00:51:29,569
COUNTERBALANCE.
817
00:51:29,569 --> 00:51:32,338
>> MY MOTHER TOLD STORIES ABOUT
THIS.
818
00:51:32,338 --> 00:51:35,442
>> WHO ARE YOU?
819
00:51:35,442 --> 00:51:40,213
>> I LOOK FOR THAT IN THE
CHARACTERS ALSO, THE JOY AGAINST
820
00:51:40,213 --> 00:51:41,247
THE GRIEF.
821
00:51:41,247 --> 00:51:46,553
>> CURIOUS HOW WITH CHADWICK'S
PASSING, AND YOU HAVE REAL WORLD
822
00:51:46,553 --> 00:51:50,690
GRIEF, HOW YOU BROUGHT THAT INTO
YOUR DELIVERY INTO THE MOVIE?
823
00:51:50,690 --> 00:51:56,596
>> YOU DON'T HAVE TO TRAVEL FAR
FOR THAT. THAT LIVES IN US.
824
00:51:56,596 --> 00:52:01,367
HE MADE SUCH AN IMPACT AROUND
IMPRINT ON EACH OF US ON THAT
825
00:52:01,367 --> 00:52:03,737
SET.
OF COURSE, ON AUDIENCES AROUND
826
00:52:03,737 --> 00:52:04,537
THE WORLD.
827
00:52:04,537 --> 00:52:13,413
>> IT IS YOUR TIME TO BE KING.
828
00:52:13,413 --> 00:52:21,254
>> WE LIVE WITH THE MEMORY OF
HIM AND HOW KIND AND MARVELOUS
829
00:52:21,254 --> 00:52:26,426
OF A HUMAN BEING AND ACTOR HE IS.
830
00:52:26,426 --> 00:52:29,696
>> THE KEEQUEEN IS STATELY AND
STRONG AND BEAUTIFUL.
831
00:52:29,696 --> 00:52:33,566
CURIOUS WHAT YOU HOPE YOUNG
BLACK GIRLS, AND PERHAPS ALL
832
00:52:33,566 --> 00:52:40,406
GIRLS WILL TAKE AWAY FROM SEEING
YOUR PORTRAYAL?
833
00:52:40,406 --> 00:52:46,613
>> YOU KNOW, IT'S MARVELOUS,
IT'S GRACEFUL. IT IS ENOUGH.
834
00:52:46,613 --> 00:52:50,550
AND THEY TRULY CAN RISE AND
BECOME ANYTHING THAT THEY
835
00:52:50,550 --> 00:52:53,686
DESIRE, THAT THEY PUT THEIR
HEART AND MIND TO, THAT THEY
836
00:52:53,686 --> 00:52:59,292
GIVE FULL MEASURE OF THEIR
DEVOTION. THEY CAN RISE.
837
00:52:59,292 --> 00:53:02,695
>> I TALKED TO SEVERAL OF THE
MEMBERS OF THE CAST THERE, AND
838
00:53:02,695 --> 00:53:07,333
THEY ALL SAID THE SAME THING,
THAT THEY DIDN'T HAVE TO
839
00:53:07,333 --> 00:53:09,669
MANUFACTURER ANY GRIEF.
THAT WHAT WE SAW WAS REAL
840
00:53:09,669 --> 00:53:11,871
BECAUSE OF THE PASSING AFTER
CHADWICK.
841
00:53:11,871 --> 00:53:15,575
>>> FROM A HOLLYWOOD ICON TO A
BREAKOUT STAR, WHEN WE RETURN,
842
00:53:15,575 --> 00:53:20,547
WE ARE GOING TO HEAR FROM AUSTIN
BUTLER WHOSE TURN AS ELVIS
843
00:53:20,547 --> 00:53:24,450
PRESLEY HAS GENERATED SO MUCH
AWARD THIS AWARDS SEASON.
844
00:53:32,592 --> 00:53:38,364
♪
845
00:53:38,364 --> 00:53:41,568
>>> YOU HAVE TO BE BRAVE, YOU
HAVE TO BE AUDACIOUS, YOU HAVE
846
00:53:41,568 --> 00:53:48,408
TO PUT YOURSELF OUT THERE AND
DON'T BE AFRAID OF SOUND EFFECTS.
847
00:53:48,408 --> 00:53:50,677
WOMEN CAN DO SOUND EFFECTS AS
WELL AS MEN CAN.
848
00:53:50,677 --> 00:53:54,581
LEARN YOUR COMPUTER STUFF AND,
YOU KNOW, WORK ON STUDENT FILMS,
849
00:53:54,581 --> 00:53:58,451
WORK ON IT FOR ANYBODY --
EVERYBODY NEEDS A SOUNDTRACK.
850
00:53:58,451 --> 00:54:03,690
PUT YOURSELF OUT THERE, MAKE
RELATIONSHIPS. YOU CAN DO IT.
851
00:54:03,690 --> 00:54:06,526
>> AND WELCOME BACK TO
HOLLYWOOD.
852
00:54:06,526 --> 00:54:09,729
WE ARE LIVE OUTSIDE THE DOLBY
THEATRE WHERE, IN JUST A FEW
853
00:54:09,729 --> 00:54:13,566
HOURS, SOME EXCITED AND NERVOUS
NOMINEES WILL BE DREAMING ABOUT
854
00:54:13,566 --> 00:54:15,435
WALKING HOME WITH AN OSCAR.
855
00:54:15,435 --> 00:54:20,640
>> FORM ERWINERS --
856
00:54:23,776 --> 00:54:28,481
>> RIGHT NOW, WE WANT TO TURN TO
WHAT HAS BECOME A PRETTY
857
00:54:28,481 --> 00:54:33,486
BANKABLE GENRE IN HOLLYWOOD, THE
BIOPIC, WHICH TELLS THE STORY OF
858
00:54:33,486 --> 00:54:35,822
ONE OF OUR CULTURAL ICONS IN A
NEW WAY.
859
00:54:35,822 --> 00:54:41,828
WE LEARNED MORE ABOUT ELVIS,
MARE ILYN MONROE AND STEVEN
860
00:54:41,828 --> 00:54:44,631
SPIELBERG THROUGH OSCAR
NOMINATED FILMS THIS YEAR.
861
00:54:44,631 --> 00:54:51,738
BUT THEY ARE NOT THE FIRST B
BIOPICS TO CATCH OUR ATTENTION.
862
00:54:51,738 --> 00:54:54,507
KELLY HAS MORE.
863
00:54:54,507 --> 00:54:58,678
>> BUYIOPICS HAVE LONG BEEN A
STAPLE IN HOLLYWOOD.
864
00:54:58,678 --> 00:55:02,548
THE GREAT ONES FOUND THEIR
PLACES IN HISTORY, BUT IT CAN BE
865
00:55:02,548 --> 00:55:08,621
A REAL CHALLENGE TO TELL THOSE
STORIES. TAKE A LOOK. THE ICON.
866
00:55:08,621 --> 00:55:13,593
>> HOW WOULD YOU LIKE TO COME
WITH ME SING IN TEX WARNER'S
867
00:55:13,593 --> 00:55:13,860
WANT?
868
00:55:13,860 --> 00:55:15,595
>> SO MANY GONE TOO SOON.
869
00:55:15,595 --> 00:55:18,865
>> IF YOU LOVED ME AT ALL, YOU
WOULD FEEL SORRY FOR THE
870
00:55:18,865 --> 00:55:20,733
TERRIBLE TROUBLES I'VE BEEN
THROUGH.
871
00:55:20,733 --> 00:55:25,571
>> BUT THEIR IMPACT WILL LAST
FOREVER.
872
00:55:25,571 --> 00:55:30,543
>> I CAN CARRY WITH ME THE
PRESENT MEMORIES OF MY STAY IN
873
00:55:30,543 --> 00:55:35,782
THE MIDST OF THE POOR PEOPLE OF
EAST LONDON.
874
00:55:35,782 --> 00:55:41,721
>> "TILL" WAS MY FAVORITE BIOPIC
OF THIS YEAR AND IN SEVERAL
875
00:55:41,721 --> 00:55:45,825
YEARS.
A BIOPIC WORKS BEST WHEN WE
876
00:55:45,825 --> 00:55:48,861
LEARN SOMETHING NEW ABOUT A
FIGURE WE DON'T KNOW MUCH ABOUT.
877
00:55:48,861 --> 00:55:54,934
♪
878
00:55:54,934 --> 00:56:00,873
>> THANKS TO THE POWER OF BIOPIC
FILMS, WE GET A TASTE OF THEIR
879
00:56:00,873 --> 00:56:03,609
GREATNESS AND A GLIMPSE OF WHERE
IT BEGAN.
880
00:56:03,609 --> 00:56:06,546
2022 WAS A GREAT YEAR OF BIOPICS.
881
00:56:06,546 --> 00:56:08,948
>> ARE YOU READY TO FLY?
882
00:56:08,948 --> 00:56:10,650
>> I'M READY.
883
00:56:10,650 --> 00:56:17,590
>> FROM THE KING OF ROCK,
884
00:56:17,590 --> 00:56:21,761
"ELVIS," WONDERFUL PORTRAYED BY
AUSTIN BUTLER.
885
00:56:21,761 --> 00:56:26,833
>> ARGUABLY, IT'S ONE TO HAVE
BEST OF TEN PICTURES.
886
00:56:26,833 --> 00:56:33,539
>> AND THE BLONDE BOMBSHELL,
REINCARNATED BY A RAW AND
887
00:56:33,539 --> 00:56:35,775
RIVETING ANA de ARMAS.
TO ONE OF THE GREATEST DIRECTORS
888
00:56:35,775 --> 00:56:39,946
OF ALL-TIME, STEVEN SPIELBERG.
THE PIONEER OF MODERN
889
00:56:39,946 --> 00:56:41,514
BLOCKBUSTERS, SHARING HIS LIFE.
890
00:56:41,514 --> 00:56:46,486
>> A GOOD BIOPIC IS ABOUT A
MOMENT, A TIME IN PLACE, A VERY
891
00:56:46,486 --> 00:56:49,689
SPECIFIC THING.
IN THIS CASE, IT WAS AN
892
00:56:49,689 --> 00:56:51,057
AUTOBIOGRAPHY IN PART ABOUT
STEVEN SPIELBERG.
893
00:56:51,057 --> 00:56:53,726
BUT IT WASN'T ABOUT STEVEN
SPIELBERG AS MUCH AS IT WAS
894
00:56:53,726 --> 00:56:58,898
ABOUT THE CAMERA.
AND THE CAMERA FOR ME WAS SUCH A
895
00:56:58,898 --> 00:57:01,868
METAPHOR FOR LIFE.
AND THE WAY THIS CAMERA CAPTURED
896
00:57:01,868 --> 00:57:05,671
HUMAN HOMES AND HUMAN INTEREST,
I THOUGHT THAT PART WAS
897
00:57:05,671 --> 00:57:05,838
BRILLIANT.
898
00:57:05,838 --> 00:57:12,045
>> THEIR STORIES FOLLOWING THE
BLUEPRINT OF MANY CLASSICS OVER
899
00:57:12,045 --> 00:57:13,813
THE YEARS. SW
900
00:57:13,813 --> 00:57:16,582
>> WHO HE IS?
901
00:57:16,582 --> 00:57:26,526
>> LAWRENCE ARABIA CONSIDERED A
902
00:57:26,526 --> 00:57:28,227
SIN SE CINEMATIC MASTERPIECE.
903
00:57:28,227 --> 00:57:33,566
>> THERE ARE MOMENTS IN IT THAT
ARE OFFENSIVE.
904
00:57:33,566 --> 00:57:39,906
FOR ME, THOSE MOMENTS DO NOT
NEGATE THE POWER OF THE MOVIE.
905
00:57:39,906 --> 00:57:41,841
>> I DEMAND IT OF YOU.
906
00:57:41,841 --> 00:57:50,016
>> AND THERE'S "CLEOPATRA" IN
907
00:57:50,016 --> 00:57:56,789
1963, WINNER OF FOUR ACADEMY
908
00:57:56,789 --> 00:57:58,558
AWARDS.
909
00:57:58,558 --> 00:58:04,964
>> "AMADAYUS" IN 1984, STILL A
910
00:58:04,964 --> 00:58:07,867
GOLD STANDARD OF CINEMA.
911
00:58:07,867 --> 00:58:11,838
>> YOU ARE NOT AN AMERICAN.
WE DIDN'T LAND ON PLYMOUTH ROCK,
912
00:58:11,838 --> 00:58:14,073
PLYMOUTH ROCK LANDED ON US.
913
00:58:14,073 --> 00:58:21,681
>> IT WAS SPIKE LEE'S MALCOLM X
BIOPIC THAT EARNED DENZEL
914
00:58:21,681 --> 00:58:23,749
WASHINGTON A BEST ACTOR NOD.
915
00:58:23,749 --> 00:58:28,955
>> HE REALLY FOCUSED ON THE
EVOLUTION OF MALCOLM X'S
916
00:58:28,955 --> 00:58:34,760
IDEOLOGY.
THAT IS SO DIFFICULT TO PORTRAYA
917
00:58:34,760 --> 00:58:37,196
MOVIE, IS THE EVOLUTION OF
IDEALOLOGY.
918
00:58:37,196 --> 00:58:39,899
♪
919
00:58:39,899 --> 00:58:46,139
>> AND WHO WOULD FORGET
"BOHEMIAN RHAPSODY" THAT
920
00:58:46,139 --> 00:58:49,909
PORTRAYAL OF FREDDIE MERCURY'S
LIFE, GROSSING OVER $900
921
00:58:49,909 --> 00:58:55,715
MILLION, MAKING IT THE MOST
SUCCESSFUL MUSIC BIOPIC OF ALL
922
00:58:55,715 --> 00:58:58,818
TIME, AND EARNING SOME FOUR
ACADEMY AWARDS.
923
00:58:58,818 --> 00:59:04,090
HISTORY LESSONS, CELEBRATING AND
REFLECTING ON THE UNIMAGINABLE.
924
00:59:04,090 --> 00:59:08,694
THIS YEAR, THE BIOPICS COULD
ONCE AGAIN TAKE CENTER STAGE AT
925
00:59:08,694 --> 00:59:11,030
THE OSCARS, REMINDING HOLLYWOOD
THERE'S STILL MANY GREAT STORIES
926
00:59:11,030 --> 00:59:16,736
TO BE TOLD.
927
00:59:16,736 --> 00:59:20,373
AGAIN, THE TRUE BIOPIC CAN SERVE
A GREAT PURPOSE.
928
00:59:20,373 --> 00:59:24,143
BUT IT'S THOSE FILMS THAT TAKE
LIBERTY WITH THE STORIES THEY
929
00:59:24,143 --> 00:59:27,079
TELL THAT POSE THE RISK OF
TAINTING HISTORY.
930
00:59:27,079 --> 00:59:28,047
BACK TO YOU GUYS.
931
00:59:28,047 --> 00:59:32,919
>> KELLY, THANKS SO MUCH.
THE SUCCESS OF THIS YEAR'S HIT
932
00:59:32,919 --> 00:59:36,055
FILM "ELVIS" HAS CATAPULTED
AUSTIN BUTLER TO A NEW LEVEL OF
933
00:59:36,055 --> 00:59:39,859
FAME IN HOLLYWOOD.
MANY PREDICT THE 31-YEAR-OLD
934
00:59:39,859 --> 00:59:42,828
FIRST-TIME NOMINEE WILL WALK
AWAY WITH THE OSCAR TONIGHT.
935
00:59:42,828 --> 00:59:47,867
IT'S BEEN CERTAINLY A TRIUMPHANT
AND E MOTIONALLY BROUGHT AWARD
936
00:59:47,867 --> 00:59:52,071
SEASON FOR THE ACTOR.
HERE NOW IS CHRIS CONLEY.
937
00:59:52,071 --> 01:00:05,084
♪
938
01:00:05,084 --> 01:00:09,755
>> WHEN YOU THINK OF ALL THAT
WORK YOU PUT IN, ALL THOSE HOURS
939
01:00:09,755 --> 01:00:13,793
DURING COVID YOU WERE JUST
STARING AT YOUR WALLS, WHERE YOU
940
01:00:13,793 --> 01:00:17,063
HAD PUT UP AN ENTIRE LIFE OF
ELVIS PRESLEY AROUND YOU?
941
01:00:17,063 --> 01:00:21,067
>> YEAH, THAT'S -- I THINK BACK
TO THAT TIME, WHICH -- THAT WAS
942
01:00:21,067 --> 01:00:25,104
THE SIX MONTHS THAT WE SHUT DOWN
FOR COVID, AND WE DIDN'T KNOW IF
943
01:00:25,104 --> 01:00:29,875
THE FILM WAS GOING TO COME BACK.
I STAYED IN AUSTRALIA AND PASTED
944
01:00:29,875 --> 01:00:34,046
ALL THE IMAGES I HAD OF ELVIS
AROUND THE WALLS, FROM JUST
945
01:00:34,046 --> 01:00:38,317
FLOOR TO CEILING, A DETECTIVE
SCENE, YOU KNOW?
946
01:00:38,317 --> 01:00:42,922
>> YOU ARE THE BEST PERSON I
COULD EVER HOPE TO WORK FOR.
947
01:00:42,922 --> 01:00:46,192
THIS IS SOMETHING I AIN'T NEVER
SAID TO NOBODY BEFORE, BUT I
948
01:00:46,192 --> 01:00:48,961
BELIEVE I CAN BE GREAT TOO.
949
01:00:48,961 --> 01:00:53,032
>> OUR CINEMATOGRAPHER, I'M JUST
SO PROUD AND HAPPY FOR HER.
950
01:00:53,032 --> 01:00:59,839
SHE'S ONE OF THREE FEMALE DPs IN
90 WHATEVER YEARS THAT HAS BEEN
951
01:00:59,839 --> 01:01:02,008
NOMINATED.
AND SHE FIGURED OUT THE SPECIAL
952
01:01:02,008 --> 01:01:06,946
ANGLES THAT FLATTERED YOUR FACE,
THAT KNEW IT WAS JUST RIGHT.
953
01:01:06,946 --> 01:01:12,218
>> SHE WAS THERE FROM DAY ONE,
WHEN I FIRST STARTED WORKING
954
01:01:12,218 --> 01:01:15,087
WITH BAZ.
I NEVER HAD THAT EXPERIENCE WITH
955
01:01:15,087 --> 01:01:18,357
A CINEMATOGRAPHER BEFORE, WHERE
YOU ARE DEVELOPING LANGUAGE AS
956
01:01:18,357 --> 01:01:20,960
YOU ARE PREPARING TOGETHER.
957
01:01:20,960 --> 01:01:26,165
>> WE SAT TOGETHER, YOU AND ME,
AND LISA MARIE IN THE JUNGLE
958
01:01:26,165 --> 01:01:27,066
ROOM AT GRACELAND.
959
01:01:27,066 --> 01:01:27,867
>> YEAH.
960
01:01:27,867 --> 01:01:31,137
>> AND SHE TALKED ABOUT HER
AFFECTION FOR YOU.
961
01:01:31,137 --> 01:01:35,808
>> MY CHILDREN AND I JUST FELL
IMMEDIATELY IN LOVE WITH HIM.
962
01:01:35,808 --> 01:01:39,145
AND PROTECTIVE OF HIM.
I FEEL SO PROTECTIVE OF HIM.
963
01:01:39,145 --> 01:01:46,986
AND I THINK RILEY DOES, TOO.
BUT WE JUST LOVE YOU, AND WE
964
01:01:46,986 --> 01:01:49,822
FEEL THIS LOVE AND THERE'S JUST
SO MUCH LOVE.
965
01:01:49,822 --> 01:01:52,124
IT WAS VERY -- IT'S A LOT.
IT'S A LOT.
966
01:01:52,124 --> 01:01:54,593
HE'S DONE SUCH AN INCREDIBLE JOB
THAT WE FEEL SO CONNECTED TO
967
01:01:54,593 --> 01:02:00,900
HIM. SWEET THING.
HE'S SUCH A SWEET HEART.
968
01:02:00,900 --> 01:02:05,071
>> WHAT DID THAT MEAN TO YOU, TO
HAVE THOSE FEELINGS FROM HER?
969
01:02:05,071 --> 01:02:10,910
>> IT'S SO HARD TO PUT INTO
WORDS, BECAUSE I HAD JUST MET
970
01:02:10,910 --> 01:02:13,045
HER THE DAY BEFORE WE DID THAT
INTERVIEW TOGETHER.
971
01:02:13,045 --> 01:02:16,148
BUT I HAD SO MUCH TIME OF TRYING
TO UNDERSTAND HER FATHER, TRYING
972
01:02:16,148 --> 01:02:19,051
TO BE INSIDE HIS MIND AS MUCH AS
I COULD.
973
01:02:19,051 --> 01:02:23,956
AND THEN YOU ADD IN THE WHOLE
LAYER OF EVERYTHING THAT'S GONE
974
01:02:23,956 --> 01:02:29,929
ON IN EITHER ONE OF OUR LIVES
THAT, YOU KNOW, LOSSES, AND THE
975
01:02:29,929 --> 01:02:31,030
LOSS OF HER SON.
976
01:02:31,030 --> 01:02:32,298
>> THE LOSS OF YOUR MOTHER.
977
01:02:32,298 --> 01:02:34,033
>> YEAH.
978
01:02:34,033 --> 01:02:36,969
>> IT WAS AS IF THE TWO OF YOU
WERE HEALING SOMETHING BY
979
01:02:36,969 --> 01:02:37,136
CONNECTING.
980
01:02:37,136 --> 01:02:40,039
>> YEAH.
WE SPENT A LOT OF TIME UPSTAIRS
981
01:02:40,039 --> 01:02:44,043
TOGETHER.
982
01:02:44,043 --> 01:02:51,183
SHE SHOWED ME MANY THINGS, HIS
BOOKS, ALL THESE SPIRITUAL BOOKS.
983
01:02:51,183 --> 01:02:53,219
>> WAS THERE A GUITAR INVOLVED?
984
01:02:53,219 --> 01:02:57,123
>> YEAH, THERE WAS A GUITAR JUST
LAYING ON THE CARPET ON THE
985
01:02:57,123 --> 01:03:00,192
FLOOR.
I GOT TO PLAY THAT IN THE JUNGLE
986
01:03:00,192 --> 01:03:02,228
ROOM.
AND THAT WAS -- THAT WAS -- IT
987
01:03:02,228 --> 01:03:09,034
WAS NOT ONLY THE GUITAR THAT HE
HAD FROM THE '50s THAT HE USED
988
01:03:09,034 --> 01:03:12,271
AND ALL THOSE EARLY FILMS OF HIS.
989
01:03:12,271 --> 01:03:19,345
>> FROM NOW ON, KID, YOU'RE NOT
BORROWING MY AX. HEY, SUZY.
990
01:03:19,345 --> 01:03:25,117
>> THAT'S FOR YOU FROM TEX.
991
01:03:25,117 --> 01:03:28,320
>> FROM HERE ON IN, YOU'RE
BUSTING YOUR OWN STRINGS.
992
01:03:28,320 --> 01:03:32,258
>> AND THAT'S THE SAME GUITAR HE
PLAYS IN THE '70s, AS WELL.
993
01:03:32,258 --> 01:03:37,263
WHEN YOU WATCH "THAT'S THE WAY
IT IS" AND YOU SEE HIM ON STAGE
994
01:03:37,263 --> 01:03:42,268
IN VEGAS, THAT'S THE SAME GUITAR
HE WAS PLAYING SINCE THE '50s.
995
01:03:42,268 --> 01:03:45,438
♪
996
01:03:45,438 --> 01:03:51,377
>> IS YOUR LAST MEMORY OF LISA
MARIE THAT NIGHT OF CELEBRATION
997
01:03:51,377 --> 01:03:52,378
AT THE GOLDEN GLOBES?
998
01:03:52,378 --> 01:03:56,315
>> YEAH, THAT'S THE LAST TIME WE
SAW EACH OTHER.
999
01:03:56,315 --> 01:03:58,918
>> I'M JUST SO GRATEFUL RIGHT
NOW.
1000
01:03:58,918 --> 01:04:02,154
>> WHAT DO YOU REMEMBER ABOUT
THAT NIGHT THAT BRINGS A SMILE
1001
01:04:02,154 --> 01:04:03,222
TO YOUR FACE?
1002
01:04:03,222 --> 01:04:07,226
>> BEING ON STAGE AND GETTING TO
LOOK DOWN INTO HER EYES.
1003
01:04:07,226 --> 01:04:10,296
>> LISA MARIE, PRISCILLA, I LOVE
YOU FOREVER.
1004
01:04:10,296 --> 01:04:12,965
[ APPLAUSE ]
1005
01:04:12,965 --> 01:04:16,202
THERE'S MANY MEMORIES FROM THAT
NIGHT THAT MAKE ME SMILE.
1006
01:04:16,202 --> 01:04:18,304
>> YOU BROUGHT HER GREAT JOY.
1007
01:04:18,304 --> 01:04:20,172
>> I HOPE SO.
1008
01:04:20,172 --> 01:04:23,442
>> WOW.
IT IS AMAZING TO SEE JUST HOW
1009
01:04:23,442 --> 01:04:26,145
COMPOSED AUSTIN BUTLER HAS BEEN
THROUGHOUT EVERYTHING THAT'S
1010
01:04:26,145 --> 01:04:30,249
HAPPENED IN RECENT MONTHS.
THAT MOMENT WITH LISA MARIE ON
1011
01:04:30,249 --> 01:04:33,419
THE COUCH, JUST INCREDIBLY
POWERFUL. JUST 31 YEARS OLD.
1012
01:04:33,419 --> 01:04:35,254
THE BIGGEST NIGHT OF HIS LIFE.
1013
01:04:35,254 --> 01:04:36,589
>> YOU CAN IMAGINE THAT VERY
EASILY.
1014
01:04:36,589 --> 01:04:39,158
I KNOW A LOT OF PEOPLE ARE
ROOTING FOR HIM.
1015
01:04:39,158 --> 01:04:43,229
WHICH LEAD ACTRESS ARE YOU
ROOTING FOR TO TAKE HOME AN
1016
01:04:43,229 --> 01:04:46,298
OSCAR TONIGHT?
A LOOK AT ALL FIVE PERFORMANCES
1017
01:04:59,378 --> 01:05:00,246
♪
1018
01:05:00,246 --> 01:05:09,255
♪ EVERYTHING WILL BE OKAY
1019
01:05:09,255 --> 01:05:13,125
♪
1020
01:05:13,125 --> 01:05:18,097
>> YOU KNOW THAT IS MY JAM RIGHT
THERE.
1021
01:05:18,097 --> 01:05:22,167
I WAS FIST PUMPING OFF CAMERA.
THAT IS LADY GAGA'S OSCAR
1022
01:05:22,167 --> 01:05:24,370
NOMINATED SONG "HOLD MY HAND"
FROM "TOP GUN: MAVERICK."
1023
01:05:24,370 --> 01:05:26,472
AND WE ARE SHOWING YOU THAT
RIGHT NOW, BECAUSE WE ARE
1024
01:05:26,472 --> 01:05:28,474
GETTING SOME BREAKING NEWS AS WE
SPEAK.
1025
01:05:28,474 --> 01:05:32,378
>> WE ARE JUST LEARNING THAT
LADY GAGA IS IN THE BUILDING.
1026
01:05:32,378 --> 01:05:35,514
SHE'S GOING TO BE PERFORMING ON
THE OSCAR STAGE TONIGHT.
1027
01:05:35,514 --> 01:05:39,018
>> AND WE KNOW RIHANNA'S GOING
TO PERFORM.
1028
01:05:39,018 --> 01:05:41,287
"NAATU NAATU" IS HAPPENIG.
SO VERY EXCITING STUFF, THAT
1029
01:05:41,287 --> 01:05:45,090
BREAKING NEWS RIGHT HERE FROM
THE CHAMPAGNE CARPET.
1030
01:05:45,090 --> 01:05:47,693
WE TURN NOW TO SOME TALENTED
ACTRESSES.
1031
01:05:47,693 --> 01:05:51,530
OF THE FIVE WOMEN NOMINATED FOR
BEST ACTRESS TONIGHT, THREE ARE
1032
01:05:51,530 --> 01:05:55,301
FIRST-TIME NOMINEES.
ONE OF THOSE, MICHELLE YEOH,
1033
01:05:55,301 --> 01:05:59,505
MAKES HISTORY AS THE FIRST
SOUTHEAST ASIAN WOMAN TO BE
1034
01:05:59,505 --> 01:06:01,473
NOMINATED IN THE LEAD ACTRESS
TERRITORY.
1035
01:06:01,473 --> 01:06:05,477
>> MANY ARE PREDICTING SHE WILL
WIN BUT FACES TOUGH COMPETITION.
1036
01:06:05,477 --> 01:06:10,316
HERE IS A REMINDER OF WHO IS
COMPETING FOR THE OSCAR IN THIS
1037
01:06:10,316 --> 01:06:15,354
CATEGORY.
1038
01:06:15,354 --> 01:06:24,229
♪
1039
01:06:24,229 --> 01:06:25,464
>> THERE'S SOMETHING I'VE GOT TO
1040
01:06:25,464 --> 01:06:32,438
TELL YOU.
1041
01:06:32,438 --> 01:06:36,241
♪
1042
01:06:36,241 --> 01:06:42,348
>> THE THINGS THEY MAKE UP.
I KNOW YOU'RE SUPPOSED TO GET
1043
01:06:42,348 --> 01:06:51,290
USED TO IT, BUT I JUST CAN'T.
1044
01:06:51,290 --> 01:06:57,396
>> I LOST EVERYTHING.
I FILED FOR BANS KRUPTCY.
1045
01:06:57,396 --> 01:06:59,365
SO YEAH, I LEFT HIM.
1046
01:06:59,365 --> 01:07:00,132
♪
1047
01:07:00,132 --> 01:07:02,501
>> YOU KNOW THE ONE WITH THE
1048
01:07:02,501 --> 01:07:08,340
CHEF, AND HE MAKES BAD FOOD.
1049
01:07:08,340 --> 01:07:14,413
AND THEN YOU CONTROL HIM AND HE
COOKS GOOD FOOD.
1050
01:07:14,413 --> 01:07:20,285
♪
1051
01:07:20,285 --> 01:07:26,258
>> WANT TO DANCE, YOU HAVE TO
SUBMY
1052
01:07:26,258 --> 01:07:34,433
SUBLIMATE YOURSELF, YOUR EGO.
1053
01:07:34,433 --> 01:07:35,367
ALL RIGHT.
1054
01:07:35,367 --> 01:07:37,503
>> SO MANY GREAT PERFORMANCES
THERE.
1055
01:07:37,503 --> 01:07:42,307
I HAD THE OPPORTUNITY TO SIT
DOWN WITH ONE OF THOSE TALENTED
1056
01:07:42,307 --> 01:07:47,613
NOMINEES, MICHELLE WILLIAMS.
THIS IS HER FIFTH OSCAR
1057
01:07:47,613 --> 01:07:52,384
NOMINATION, HONORED FOR PLAYING
STEVEN SPIELBERG'S REAL-LIFE
1058
01:07:52,384 --> 01:07:55,554
MOTHER IN "THE FABELMANS."
1059
01:07:55,554 --> 01:08:00,659
>> THERE'S SOMETHING I'VE GOT TO
TELL YOU.
1060
01:08:00,659 --> 01:08:03,629
HE LOOKS LIKE ME THAT SOMEBODY
1061
01:08:03,629 --> 01:08:09,468
COULD BE WRONG --
1062
01:08:09,468 --> 01:08:13,706
COULD YOU CLIMB ON THE ROOF TO
ADJUST THE ANTENNA SO I CAN
1063
01:08:13,706 --> 01:08:18,577
WATCH CHANNEL? AND HE DOES.
1064
01:08:18,577 --> 01:08:21,380
>> IS THERE STILL THE SAME
EXCITEMENT EACH TIME?
1065
01:08:21,380 --> 01:08:22,548
>> MAYBE A LITTLE MORE.
1066
01:08:22,548 --> 01:08:23,382
>> HOW SO?
1067
01:08:23,382 --> 01:08:27,653
>> IT'S NOT EASY TO GET HERE.
AND TO SEE PEOPLE THAT YOU KNOW,
1068
01:08:27,653 --> 01:08:30,556
THAT YOU HAVE WORKED WITH BEFORE
AND TO SEAL LIKE THINGS ARE
1069
01:08:30,556 --> 01:08:33,192
RETURNING.
THERE'S THE COMMUNITIES THAT YOU
1070
01:08:33,192 --> 01:08:36,628
BUILD WHEN YOU MAKE A MOVIE, AND
THEN THERE'S THE LARGER
1071
01:08:36,628 --> 01:08:40,532
COMMUNITY.
IT'S JUST SO NICE TO BE UNITED
1072
01:08:40,532 --> 01:08:41,033
WITH PEOPLE AND BROUGHT BACK
TOGETHER.
1073
01:08:41,033 --> 01:08:48,273
>> TELL ME ABOUT THE PRESSURE.
I'M ASSUMING TO PLAY STEVEN
1074
01:08:48,273 --> 01:08:50,542
SPIELBERG'S MOM.
HE OPENED UP THE VAULT FOR YOU,
1075
01:08:50,542 --> 01:08:53,679
WAS SHOWING YOU HOME VIDEOS AND
PICTURES.
1076
01:08:53,679 --> 01:08:58,283
WHAT DID THAT FEEL LIKE TO
REALLY MAKE THIS ROLE SAFE?
1077
01:08:58,283 --> 01:09:01,653
>> IT FELT LIKE PRESSURE FOR A
SECOND, UNTIL YOU REALIZE HE
1078
01:09:01,653 --> 01:09:05,524
LOVED HIS MOM.
HE'S MAKING THIS TO HONOR BOTH
1079
01:09:05,524 --> 01:09:09,394
OF HIS PARENTS, AND HE HANDS YOU
THE THIS WAS, HE'S JUST OPEN
1080
01:09:09,394 --> 01:09:12,364
LIKE THIS.
IT'S JUST POURING OUT OF HIM.
1081
01:09:12,364 --> 01:09:16,668
AND IT VERY QUICKLY GOES FROM
FEELING LIKE OH, GOSH, HOW AM I
1082
01:09:16,668 --> 01:09:21,740
GOING TO DO THIS, TO FEELING
EXCITED AND INSPIRED AND PART OF
1083
01:09:21,740 --> 01:09:26,345
HIS FAMILY.
SO I THOUGHT I WOULD BE A LOT
1084
01:09:26,345 --> 01:09:28,580
MORE NERVOUS THAN I WAS.
I WAS REALLY JUST EXCITED TO GO
1085
01:09:28,580 --> 01:09:33,318
TO WORK AND EXCITED TO MAKE HIS
MOM COME BACK TO LIFE.
1086
01:09:33,318 --> 01:09:39,391
>> HOW DID YOU CHANNEL YOUR OWN
MOTHERING INTO THE ROLE OF MISSY?
1087
01:09:39,391 --> 01:09:41,560
>> I THOUGHT SO MUCH ABOUT WHO
WAS THE MOTHER THAT MADE THESE
1088
01:09:41,560 --> 01:09:45,664
CHILDREN, THAT RAISED THESE
CHILDREN, THAT WENT OFF AND
1089
01:09:45,664 --> 01:09:50,469
LIVED THEIR INDIVIDUAL,
EXPRESSIVE, FULL ADULT LIVES?
1090
01:09:50,469 --> 01:09:53,605
THAT'S A HUGE ACCOMPLISHMENT.
WHO WAS SHE?
1091
01:09:53,605 --> 01:09:56,742
WHY ARE THEY STILL SO ENAMORED
WITH HER?
1092
01:09:56,742 --> 01:10:01,313
I THINK IT WAS SO MUCH ABOUT
THEIR CHILDHOOD, HER ACCEPTANCE
1093
01:10:01,313 --> 01:10:03,448
OF THEM, THE ATTENTION SHE GAVE
TO THEM.
1094
01:10:03,448 --> 01:10:06,518
I REALLY THINK SHE MAKES A BOLD
CHOICE IN THE FILM.
1095
01:10:06,518 --> 01:10:13,358
SHE MAKES A DECISION FOR HERSELF.
WHAT I THINK SHE DID IN THAT
1096
01:10:13,358 --> 01:10:16,495
MOMENT TROULY, WAS THAT BY
ALIGNING HERSELF WITH HER
1097
01:10:16,495 --> 01:10:21,366
PASSION AND DESIRE AND CHOOSING
TO LIVE SO BOLDLY, SO HONESTLY,
1098
01:10:21,366 --> 01:10:25,437
I THINK SHE GAVE HER CHILDREN
THE SAME ABILITY AS ADULTS.
1099
01:10:25,437 --> 01:10:29,641
>> SO BEAUTIFUL WHAT YOU MADE,
DARLING.
1100
01:10:29,641 --> 01:10:32,477
>> I THINK THEY SAW THEIR MOM DO
IT FIRST.
1101
01:10:32,477 --> 01:10:37,449
>> I'M CURIOUS HOW YOU WERE SO
SUCCESSFUL AT CREATING THIS
1102
01:10:37,449 --> 01:10:39,618
EMPATHETIC CHARACTER?
BECAUSE ON ITS FACE, WHEN WE
1103
01:10:39,618 --> 01:10:43,622
THINK OF OH, THIS MOM WAS HAVING
AN AFFAIR, AND SHE CHOSE THAT
1104
01:10:43,622 --> 01:10:47,659
LIFE AS ONE OF THE DAUGHTERS
SAYS, YOU'RE BEING SO SELFISH.
1105
01:10:47,659 --> 01:10:53,398
AND YET WE HAVE COMPASSION FOR
HER, AND I THINK THAT HAS A LOT
1106
01:10:53,398 --> 01:11:00,806
TO DO WITH THE DEPTH THAT YOU
POUR TRRTRAYED HER.
1107
01:11:00,806 --> 01:11:03,675
HOW DID YOU DO THAT SO
SUCCESSFULLY?
1108
01:11:03,675 --> 01:11:06,411
>> THANK YOU.
I DON'T THINK SHE WAS LIVING IN
1109
01:11:06,411 --> 01:11:07,379
TUNE WITH HERSELF.
1110
01:11:07,379 --> 01:11:11,717
>> THIS IS THE MOST SELFISH
THING I HAVE EVER DONE, BUT I'VE
1111
01:11:11,717 --> 01:11:18,624
GOT TO DO THIS NOW, BECAUSE,
SAMMY, YOU DO WHAT YOUR HEART
1112
01:11:18,624 --> 01:11:21,493
SAYS YOU HAVE TO.
SO YOU DON'T OWE ANYONE YOUR
1113
01:11:21,493 --> 01:11:24,796
LIFE. NOT EVEN ME.
1114
01:11:24,796 --> 01:11:28,901
>> SHE WAS SO ALIGNED.
SHE WAS AN ARTIST, A PIANO
1115
01:11:28,901 --> 01:11:34,573
PLAYER.
HER SPIRIT WAS SO EXUBERANT AND
1116
01:11:34,573 --> 01:11:39,745
SO EX-WIQUISITELY TUNED.
THEY ULTIMATELY KNEW SHE WAS
1117
01:11:39,745 --> 01:11:46,652
DOING WHAT SHE HAD TO DO.
WHILE IT MAY BE PAINFUL IN THE
1118
01:11:46,652 --> 01:11:46,818
MOMENT.
1119
01:11:46,818 --> 01:11:51,623
>> YOU TALKED TO CONGRESS ABOUT
PAY EQUITY, AND HOW PURPOSEFUL
1120
01:11:51,623 --> 01:11:53,759
AND MEANINGFUL THAT DAY WAS FOR
YOU.
1121
01:11:53,759 --> 01:11:57,596
WHERE DO YOU THINK WE ARE RIGHT
NOW WITH THAT IN HOLLYWOOD, AND
1122
01:11:57,596 --> 01:11:59,698
WHY WAS IT SO IMPORTANT FOR YOU
TO SPEAK OUT?
1123
01:11:59,698 --> 01:12:02,501
>> I FELT LIKE I WAS BEING
CALLED UPON.
1124
01:12:02,501 --> 01:12:05,570
I FELT LIKE I FOUND MYSELF IN
THE MIDDLE OF THIS MOMENT AND I
1125
01:12:05,570 --> 01:12:12,544
BETTER LEARN TO SPEAK UP.
AND I STEPPED INTO IT, AND IT
1126
01:12:12,544 --> 01:12:17,582
MAY BE THE THING I'M MOST PROUD
OF PROFESSIONALLY. I SEE A SHIFT.
1127
01:12:17,582 --> 01:12:20,485
I SEE A SHIFT BECAUSE I HEAR
THERE'S A SHIFT.
1128
01:12:20,485 --> 01:12:24,856
PEOPLE COME UP TO ME, MEN,
WOMEN, MEN WHO OWN BUSINESSES
1129
01:12:24,856 --> 01:12:28,527
AND SAY I REALIZED SOMETHING AND
I DIDN'T KNOW IT UNTIL I HEARD
1130
01:12:28,527 --> 01:12:30,762
YOUR EXAMPLE.
THAT'S WHEN I FEEL LIKE CHANGE
1131
01:12:30,762 --> 01:12:32,631
IS HAPPENING.
1132
01:12:32,631 --> 01:12:37,703
>> THE FIRST MOVIE THAT YOU SAW
THAT IMPACTED YOU?
1133
01:12:37,703 --> 01:12:40,672
>> "EMPIRE."
1134
01:12:40,672 --> 01:12:44,543
>> PERSON YOU'RE MOST LOOKING
FORWARD TO BUMPING INTO ON THE
1135
01:12:44,543 --> 01:12:44,710
RED CARPET?
1136
01:12:44,710 --> 01:12:51,450
>> PEOPLE I MADE THE MOVIE WITH.
WE ALL LOVED EACH OTHER SO MUCH.
1137
01:12:51,450 --> 01:12:54,920
>> SUCH A GREAT CONVERSATION,
AND SHE WENT THERE TALKING ABOUT
1138
01:12:54,920 --> 01:12:58,690
PAY EQUITY, AS WELL.
SO WILL MICHELLE WILLIAMS SNAG
1139
01:12:58,690 --> 01:13:04,730
AN OSCAR ON HER FIFTH TRY?
JOINING US AGAIN TO HANDICAP THE
1140
01:13:04,730 --> 01:13:07,933
RACE, ELIZABETH AND CLAYTON.
CLAYTON, WE'LL START WITH YOU.
1141
01:13:07,933 --> 01:13:10,936
WHO WILL WIN, WHO SHOULD WIN,
AND POSSIBLE SURPRISE PICK.
1142
01:13:10,936 --> 01:13:15,874
>> LISTEN, THIS IS A TIGHT RACE
BETWEEN CATE BLANCHETT AND OUR
1143
01:13:15,874 --> 01:13:20,846
FIRST-TIME NOMINEE MICHELLE YEOH
WHO, AT 60, IS FINALLY GETTING
1144
01:13:20,846 --> 01:13:23,915
HER DUE.
IT LOOKS LIKE SHE'S GOING TO
1145
01:13:23,915 --> 01:13:30,922
MAKE HISTORY.
IT'S MICHELLE YEOH, ALL DAY,
1146
01:13:30,922 --> 01:13:32,991
EVERY DAY.
1147
01:13:32,991 --> 01:13:33,225
>> DO YOU AGREE?
1148
01:13:33,225 --> 01:13:39,931
>> I DO AGREE THAT MICHELLE YEOH
SHOULD WIN, BUT WHEN YOU'RE IN A
1149
01:13:39,931 --> 01:13:43,035
RACE WITH CATE BLANCHETT, NOBODY
IS SAFE.
1150
01:13:43,035 --> 01:13:47,672
BUT MICHELLE YEOH, REALLY
HISTORY MAKING, SUCH A GREAT,
1151
01:13:47,672 --> 01:13:50,809
UNIQUE PERFORMANCE.
AND IT'S CRAZY THAT SHE'S NEVER
1152
01:13:50,809 --> 01:13:54,579
BEEN NOMINATED BEFORE.
I THINK SHE WILL BE ONE OF MANY
1153
01:13:54,579 --> 01:13:57,115
FROM THE TEAM OF "EVERYTHING
EVERYWHERE ALL AT ONCE" THAT
1154
01:13:57,115 --> 01:13:57,916
WILL SWEEP TONIGHT.
1155
01:13:57,916 --> 01:13:59,818
>> AND SURPRISE PICKS?
1156
01:13:59,818 --> 01:14:02,587
>> ANYTHING OUTSIDE OF THOSE TWO
WOULD BE A SHOCKER.
1157
01:14:02,587 --> 01:14:04,756
I THINK IT'S ONE OF THOSE TWO
FOR SURE.
1158
01:14:04,756 --> 01:14:08,593
AND CATE BLANCHETT WILL ONLY BE
THE THIRD PERSON TO WIN THREE
1159
01:14:08,593 --> 01:14:08,727
OSCARS.
1160
01:14:08,727 --> 01:14:11,797
>> AND DO IT IN JUST 18 YEARS,
THE FASTEST.
1161
01:14:11,797 --> 01:14:13,899
>> WE'LL CHAT WITH YOU MORE
LATER ON.
1162
01:14:13,899 --> 01:14:18,870
WE HAVE A LOT MORE COMING UP ON
OUR COUNTDOWN TO THE 95th ANNUAL
1163
01:14:18,870 --> 01:14:20,705
ACADEMY AWARDS.
WHEN WE RETURN, WE'LL SHOW YOU
1164
01:14:20,705 --> 01:14:24,609
SOME OF THE EARLIEST ROLES
TONIGHT'S BEST SUPPORTING ACTORS
1165
01:14:24,609 --> 01:14:25,911
TOOK WHEN STARTING OUT.
1166
01:14:25,911 --> 01:14:33,685
>> AND CAN YOU GUESS WHICH ACTOR
GAVE A HAUNTING PERFORMANCE AS
1167
01:14:33,685 --> 01:14:34,719
COUNT DRACULA?
THE ANSWER COMING UP.
1168
01:14:45,864 --> 01:14:49,835
♪
1169
01:14:49,835 --> 01:14:52,904
>>> BE PATIENT.
THERE'S A LOT WITH WHAT WE DO.
1170
01:14:52,904 --> 01:14:55,774
THAT'S A LOT OF TRAINING AND
WORK THAT GOES INTO IT.
1171
01:14:55,774 --> 01:15:00,745
BUT IT'S SO SATISFYING.
EACH SET THAT YOU BUILD, IT'S UP
1172
01:15:00,745 --> 01:15:03,715
FOR A WEEK, A DAY, AND THEN IT'S
GONE.
1173
01:15:03,715 --> 01:15:07,152
IT'S THERE, IT'S PHOTOGRAPHED,
ON FILM FOREVER.
1174
01:15:07,152 --> 01:15:12,858
AND IT'S ONE OF THE MOST
SATISFYING THINGS.
1175
01:15:12,858 --> 01:15:17,996
>> WE WERE CERTAINLY HONORED TO
SIT DOWN WITH MANY OF THOSE
1176
01:15:17,996 --> 01:15:19,297
TECHNICIANS AT THE OSCARS
LUNCHEON.
1177
01:15:19,297 --> 01:15:21,900
>> YEP.
AND THROUGH THE YEARS, THE
1178
01:15:21,900 --> 01:15:24,970
ACADEMY HAS BEEN STEADFAST IN
HONORING AS MANY OF THE CRAFTS
1179
01:15:24,970 --> 01:15:28,240
AWARDS ON THE MAIN OSCARS BROAD
CAST EVERY YEAR, AND TONIGHT
1180
01:15:28,240 --> 01:15:32,043
WILL BE NO DIFFERENT.
1181
01:15:32,043 --> 01:15:37,983
>> FOR NOW, WE ARE GOING TO TURN
1182
01:15:37,983 --> 01:15:42,621
TO THE BEST SUPPORTING ACTOR.
1183
01:15:42,621 --> 01:15:46,191
>> THEY CAN ALL RELATE TO THE
FEELING OF TRYING TO GET NOTICED
1184
01:15:46,191 --> 01:15:51,863
EARLY IN THEIR CAREERS.
FOR SOME, LIKE KE HUY QUAN, A
1185
01:15:51,863 --> 01:15:57,068
SUCCESSFUL ADULT CAREER DID NOT
COME EASY AFTER SUCCESS AS A
1186
01:15:57,068 --> 01:16:03,675
CHILD ACTOR.
1187
01:16:03,675 --> 01:16:06,745
AL HERE IS A LOOK AT THE BEST
SUPPORTING ACTORS.
1188
01:16:06,745 --> 01:16:09,114
>> WERE YOU NOT PAYING ATTENTION
BEFORE?
1189
01:16:09,114 --> 01:16:12,918
>> OF COURSE.
YOU'RE JUST VERY BAD AT IT.
1190
01:16:12,918 --> 01:16:16,922
>> KE HUY QUAN HAS BEEN LIVING A
CINDERELLA STORY THIS AWARDS
1191
01:16:16,922 --> 01:16:20,158
SEASON, WITH THE CLAIM FOR HIS
PORTRAYAL IN "EVERYTHING
1192
01:16:20,158 --> 01:16:22,160
EVERYWHERE ALL AT ONCE."
1193
01:16:22,160 --> 01:16:26,131
>> I'M NOT THE WANG WHO WANTS TO
DIVORCE YOU, I'M THE WANG SAVING
1194
01:16:26,131 --> 01:16:28,700
YOUR LIFE.
YOU CAN EITHER COME UP TO ME AND
1195
01:16:28,700 --> 01:16:31,937
LIVE UP TO YOUR POTENTIAL OR
STAY HERE AND LIVE WITH THE
1196
01:16:31,937 --> 01:16:35,173
CONSEQUENCES.
1197
01:16:35,173 --> 01:16:39,144
>> PUT ME DOWN!
1198
01:16:39,144 --> 01:16:43,081
>> HE WASN'T EVEN A TEENAGER
WHEN STEVEN SPIELBERG CAST HIM
1199
01:16:43,081 --> 01:16:45,850
IN HIS FIRST ROLE EVER AS SHORT
ROUND.
1200
01:16:45,850 --> 01:16:50,855
>> SHORT ROUND, STEP ON IT!
1201
01:16:50,855 --> 01:16:55,894
>> OHOKIE DOAKY.
1202
01:16:55,894 --> 01:17:00,098
>> IN INDIANA JONES AND THE
TEMPLE OF DOOM" IN 1984.
1203
01:17:00,098 --> 01:17:06,204
CONTINUING HIS ADVENTURING AS A
CHILD ACTOR IN "THE GOONIES."
1204
01:17:06,204 --> 01:17:11,109
>> THEY'RE GONE, THEY'RE NOT
HERE. AHHH!
1205
01:17:11,109 --> 01:17:14,946
>> HE'S A BRAINIAC TRYING TO FIT
IN ON THE SMALL SCREEN IN "HEAD
1206
01:17:14,946 --> 01:17:18,049
OF THE CLASS."
1207
01:17:18,049 --> 01:17:21,152
>> TUSKIN AND COMPOSITE.
1208
01:17:21,152 --> 01:17:21,953
>> CORRECT.
1209
01:17:21,953 --> 01:17:24,823
>> I'M READY NOW.
BRING THEM ON.
1210
01:17:24,823 --> 01:17:28,760
>> AND CROSSING PATHS WITH
FELLOW NOMINEE BRENDAN FRASER IN
1211
01:17:28,760 --> 01:17:31,863
THE COMEDY "ENCINO MAN."
1212
01:17:31,863 --> 01:17:35,267
>> THE COMPUTER CLUB FEELS YOUR
PRESENCE WILL BE A VALUABLE
1213
01:17:35,267 --> 01:17:36,968
ASSET TO OUR ORGANIZATION.
1214
01:17:36,968 --> 01:17:38,870
>> COMPUTER CLUB, COMPUTER CLUB.
1215
01:17:38,870 --> 01:17:40,071
>> OH, BOY.
1216
01:17:40,071 --> 01:17:46,811
>> WHO COULD END UP ON THAT
OSCAR STAGE TONIGHT.
1217
01:17:46,811 --> 01:17:52,083
BARRY KEOGHAN IS NOMINATED FOR
PLAYING A TROUBLED YOUNG MAN IN
1218
01:17:52,083 --> 01:17:52,417
"THE BANSHEES OF INISHERIN."
1219
01:17:52,417 --> 01:17:54,419
>> THERE'S SO MUCH WE HAVE IN
COMMON.
1220
01:17:54,419 --> 01:17:56,955
JUST MAKES ME WANT TO ASK YOU
EVEN MORE.
1221
01:17:56,955 --> 01:17:59,024
>> WE DON'T HAVE ANYTHING IN
COMMON.
1222
01:17:59,024 --> 01:18:00,125
>> DON'T SKIP AHEAD.
1223
01:18:00,125 --> 01:18:03,862
>> ALSO, A CHILD ACTOR, MANY OF
HIS ROLES WERE AS TROUBLED TEENS
1224
01:18:03,862 --> 01:18:09,167
LIKE THIS ONE ON THE IRISH CRIME
SHOW "JACK TAYLOR."
1225
01:18:09,167 --> 01:18:15,206
>> WE KEEP STEALING THEM, SO
WE'RE SORRY.
1226
01:18:15,206 --> 01:18:19,077
>> CONTEMPLATING ABOUT SCHOOL IN
"STAY."
1227
01:18:19,077 --> 01:18:23,848
>> MOST OF THE STUFF YOU TEACH
YOU WILL BE OUTDATED BY THE TIME
1228
01:18:23,848 --> 01:18:26,151
I LEAVE.
IF IT'S REALLY THAT IMPORTANT, I
1229
01:18:26,151 --> 01:18:27,886
CAN ALWAYS JUST GOOGLE IT.
1230
01:18:27,886 --> 01:18:33,925
>> IN HIS ROLE IN "THE KILLING
OF A SACRED DEER" ALSO STARRING
1231
01:18:33,925 --> 01:18:34,125
COLIN FARRELL.
1232
01:18:34,125 --> 01:18:38,296
>> IT'S JUST LIKE YOU THINK, YOU
HAVE TO KILL A MEMBER OF YOUR
1233
01:18:38,296 --> 01:18:40,865
FAMILY TO BALANCE THINGS OUT.
1234
01:18:40,865 --> 01:18:45,036
>> AND DELIVERING PIECES IN
"LIFE'S A BREEZE."
1235
01:18:45,036 --> 01:18:47,305
>> EXCUSE ME?
IT'S A FAMILY MATTER, OKAY?
1236
01:18:47,305 --> 01:18:49,274
>> CAN YOU WAIT IN THE HALL,
PLEASE?
1237
01:18:49,274 --> 01:18:52,043
>> YEAH, OKAY. SORRY.
1238
01:18:52,043 --> 01:18:56,314
>> COLIN FARRELL'S BEST FRIEND
IN "THE BANSHEES OF INISHERIN,"
1239
01:18:56,314 --> 01:19:00,885
BRENDAN GLEESON IS STRONG WILLED
IN HIS RESOLVE TO PART WAYS.
1240
01:19:00,885 --> 01:19:06,124
>> PLEASE, DON'T TALK TO ME TO
MORE.
1241
01:19:06,124 --> 01:19:09,260
>> IN "BRAVEHART" WITH MEL
1242
01:19:09,260 --> 01:19:15,100
GIBSON, HE'S JUST CRAZY STRONG.
1243
01:19:15,100 --> 01:19:19,971
BACK IN 1991, HE PLAYS THE IRISH
REVOLUTIONARY MICHAEL COLLINS,
1244
01:19:19,971 --> 01:19:26,211
FIGHTING FOR INDEPENDENCE.
1245
01:19:26,211 --> 01:19:28,847
>> I MADE THEM FEAR FOR THEIR
LIVES.
1246
01:19:28,847 --> 01:19:34,252
I ADMIT, I'M NO BRAIN SCIENTIST,
BUT THERE'S NO WAY A CROCODILE
1247
01:19:34,252 --> 01:19:35,353
CAN BE IN MAINE.
1248
01:19:35,353 --> 01:19:41,192
>> BUT IT MAY HAVE TAKEN ALL HIS
STRENGTH NOT TO LAUGH WHEN
1249
01:19:41,192 --> 01:19:46,331
PLAYING THIS SHERIFF, TRYING TO
SAVE HIS COMMUNITY FROM A
1250
01:19:46,331 --> 01:19:53,104
VICIOUS REPTILE IN "LAKE PLACID."
BRIAN TYREE HENRY IS NOMINATED
1251
01:19:53,104 --> 01:20:08,019
FOR HIS ROLE IN "CAUSEWAY."
1252
01:20:08,019 --> 01:20:12,357
PLAYING A SECURITY GUARD ON "LAW
& ORDER."
1253
01:20:12,357 --> 01:20:15,393
>> LANDLORD PUT THEM UP THERE,
MOSTLY FOR SHOW.
1254
01:20:15,393 --> 01:20:19,931
>> A MAN WRONGLY CAUSED OF
MURDER IN "THE GOOD WIFE."
1255
01:20:19,931 --> 01:20:26,004
>> A YEAR AGO, I CAME HOME TO
FIND MY WIFE STABBED, A WIFE I
1256
01:20:26,004 --> 01:20:26,137
LOVED.
1257
01:20:26,137 --> 01:20:30,141
>> AND HE'S A DEFENSE ATTORNEY
ON "HOW TO GET AWAY WITH MURDER."
1258
01:20:30,141 --> 01:20:35,947
>> MY CLIENT HAS AGREED TO THIS
RECORDING WHO WISHES TO SHOW
1259
01:20:35,947 --> 01:20:37,081
REMORSE PRIOR TO SENTENCING.
1260
01:20:37,081 --> 01:20:42,320
>> AND HERE HE IS AS THE GENERAL
IN BREDWAY'S LONG-RUNNING HIT
1261
01:20:42,320 --> 01:20:47,292
SHOW "THE BOOK OF MORMON" FROM
THE 2011 TONY AWARDS.
1262
01:20:47,292 --> 01:20:50,228
JUDD HIRSH IS NOMINATED FOR HIS
ROLE IN STEVEN SPIELBERG'S "THE
1263
01:20:50,228 --> 01:20:52,030
FABELMANS."
1264
01:20:52,030 --> 01:20:55,133
>> HOLLYWOOD?
1265
01:20:55,133 --> 01:21:02,373
IT'S HAIMISH WITH DOUG LAS
FAIRBANKS. SOY WENT.
1266
01:21:02,373 --> 01:21:08,179
>> RISING TO PROMINENCE FOR HIS
ENDEARING PORTRAYAL OF ALEX
1267
01:21:08,179 --> 01:21:15,954
EAGER ON "TAXI" WHICH DEBUTED IN
1978.
1268
01:21:15,954 --> 01:21:21,025
HE'S A COP GUARDING AL PACINO IN
A TINY ROLE IN ONE OF MISFIRST
1269
01:21:21,025 --> 01:21:28,266
FILMS, 1973'S "SERPICO."
1270
01:21:28,266 --> 01:21:34,472
IN "THE LEGEND OF VALENTINO," HE
PLAYS A CASTING DIRECTOR.
1271
01:21:34,472 --> 01:21:39,410
>> THE WHOLE WORLD'S GONE CRAZY
BECAUSE IT FOUND OUT PICTURES
1272
01:21:39,410 --> 01:21:41,479
CAN MOVE AND IT'S RAINING MONEY
ALL OVER HOLLYWOOD.
1273
01:21:41,479 --> 01:21:44,082
GRAB A BUCKET. GET ALL YOU CAN.
1274
01:21:44,082 --> 01:21:48,086
>> BUT OUR GREATEST DISCOVERY IS
POSSIBLY SOMETHING HE NEVER
1275
01:21:48,086 --> 01:21:48,453
WANTED ON EARTH.
1276
01:21:48,453 --> 01:21:49,320
>> COME ON.
1277
01:21:49,320 --> 01:21:54,125
>> YES, THAT'S JUDD HIRSH,
STARRING AS THE DISCO LOVING
1278
01:21:54,125 --> 01:21:57,428
COUNT DRACULA IN THE HALLOWEEN
THAT ALMOST WASN'T.
1279
01:21:57,428 --> 01:22:04,135
>> ONE OF THESE DAYS, I WISH I
WAS DEAD AND STAY DEAD.
1280
01:22:04,135 --> 01:22:07,171
>> I'VE GOT TO SAY, ALL THE
FASHION AND FAME AROUND US IS
1281
01:22:07,171 --> 01:22:09,274
FUN.
BUT THIS IS ONE OF MY FAVORITE
1282
01:22:09,274 --> 01:22:14,078
PARTS, JUST SEEING HOW EVERYBODY
GOT THERE, ESPECIALLY COUNT
1283
01:22:14,078 --> 01:22:14,245
DRACULA.
1284
01:22:14,245 --> 01:22:17,181
>>> COMING UP, WE LOOK AT THE
POWER OF THE SEQUEL.
1285
01:22:17,181 --> 01:22:20,018
>> THESE ARE A COUPLE OF MY
FAVORITES THIS SEASON, WHETHER
1286
01:22:20,018 --> 01:22:24,289
IT'S A RETURN TO THE SKIES WITH
MAVERICK OR A JOURNEY INTO THE
1287
01:22:24,289 --> 01:22:28,092
WATER WITH AVATAR.
WHY HOLLYWOOD IS REVISITING
1288
01:22:28,092 --> 01:22:30,194
FAMILIAR FACES AND PLACES.
1289
01:22:41,239 --> 01:22:44,375
>>> HEY, FOLKS, WE ARE BACK HERE
IN HOLLYWOOD.
1290
01:22:44,375 --> 01:22:47,478
IN JUST A LITTLE WHILE, THIS
CARPET WILL BE SHOULDER TO
1291
01:22:47,478 --> 01:22:52,317
SHOULDER WITH ALL THE NOMINEES
THE RED CARPET IS ACTUALLY
1292
01:22:52,317 --> 01:22:56,254
CHAMPAGNE THIS YEAR.
THE ACADEMY JUST FELT THE
1293
01:22:56,254 --> 01:22:59,490
COMBINATION OF A LIGHTER COLORED
CARPET WITH THE RED DRAPES
1294
01:22:59,490 --> 01:22:59,691
LOOKED GOOD.
1295
01:22:59,691 --> 01:23:03,127
>> YEAH.
SO WE'RE GOING TO TURN NOW TO A
1296
01:23:03,127 --> 01:23:05,597
TOPIC THAT'S PARAMOUNT FOR
HOLLYWOOD SURVIVAL, SUCCESS AT
1297
01:23:05,597 --> 01:23:08,499
THE BOX OFFICE.
HOLLYWOOD TOOK A BIG HIT DURING
1298
01:23:08,499 --> 01:23:13,338
THE PANDEMIC WITH SO MANY
THEATERS CLOSING AND PRODUCTIONS
1299
01:23:13,338 --> 01:23:15,540
CANCELED OR DELAYED.
BUT THIS YEAR, WE'RE SEEING THE
1300
01:23:15,540 --> 01:23:20,144
TRUE POWER OF A FILM INDUSTRY
RECOVERING FROM THOSE SETBACKS.
1301
01:23:20,144 --> 01:23:24,482
RECORD BOX OFFICE NUMBERS IN
2022 HAVE PEOPLE FEELING BETTER
1302
01:23:24,482 --> 01:23:25,283
ABOUT 2023.
1303
01:23:25,283 --> 01:23:29,253
>> THIS YEAR'S BEST PICTURE
NOMINEES HAVE GROSSED ABOUT $4
1304
01:23:29,253 --> 01:23:33,257
BILLION AT THE GLOBAL BOX
OFFICE, LED BY "AVATAR: THE WAY
1305
01:23:33,257 --> 01:23:34,425
OF WATER" AND "TOP GUN:
MAVERICK."
1306
01:23:34,425 --> 01:23:39,564
THAT'S THE HIGHEST COMBINED FILM
REVENUE SINCE 2010.
1307
01:23:39,564 --> 01:23:41,633
KELLY CARTER IS BACK WITH US TO
TELL US MORE ABOUT WHAT'S
1308
01:23:41,633 --> 01:23:45,169
FUELLING THAT SUCCESS. KELLY?
1309
01:23:45,169 --> 01:23:47,605
>> YEAH, SEQUELS CAN BE GAME
CHANGERS.
1310
01:23:47,605 --> 01:23:51,542
AND HOW THEY'RE MADE CAN BE EVEN
MORE IMPORTANT THAN WHEN THEY'RE
1311
01:23:51,542 --> 01:23:53,344
MADE.
HOLLYWOOD IS CERTAINLY TAKING
1312
01:23:53,344 --> 01:23:57,415
NOTE OF THE POWER OF THE SEQUEL.
TAKE A LOOK.
1313
01:23:57,415 --> 01:24:02,453
OUR SEQUELS HOLLYWOOD'S NOT SO
SECRET WEAPON?
1314
01:24:02,453 --> 01:24:05,323
HISTORY TELLS US THEY MIGHT BE
THE KEY TO BOX OFFICE, AND EVEN
1315
01:24:05,323 --> 01:24:07,358
OSCAR GOLD.
1316
01:24:07,358 --> 01:24:11,329
>> WE'RE TALKING ABOUT SHOW
BUSINESS.
1317
01:24:11,329 --> 01:24:16,501
WELL, THE SEQUEL IS A SHOW THAT
IS MADE FOR BUSINESS REASONS.
1318
01:24:16,501 --> 01:24:22,407
IT HAS A BUILT-IN AUDIENCE.
MANY OF THE PEOPLE WHO LOVED THE
1319
01:24:22,407 --> 01:24:26,511
FIRST MOVIE ARE GOING TO PAY THE
SECOND.
1320
01:24:26,511 --> 01:24:31,215
>> MOVIES GIVE YOU A GOOD FEEL.
SO THE REASON WHY SEQUELS ARE SO
1321
01:24:31,215 --> 01:24:35,586
IMPORTANT, WE WANT TO RELIVE NOT
ONLY THE MANIC OF THE MOVIE, BUT
1322
01:24:35,586 --> 01:24:41,325
THE MAGIC OF THE MOMENT WE WERE
IN WHILE WATCHING THE MOVIE.
1323
01:24:41,325 --> 01:24:47,932
>> JUST LOOK AT "THE BRIDE OF
FRA FRANKENSTEIN" IN 1935.
1324
01:24:47,932 --> 01:24:52,637
THE SEQUEL HAILED AS A
MASTERPIECE AFTER FOLLOWING THE
1325
01:24:52,637 --> 01:24:56,541
ORIGINAL FRANKENSTEIN.
"THE GOOD, THE BAD, AND THE
1326
01:24:56,541 --> 01:25:02,480
UGLY" ANOTHER SEQUEL IN 1966, SO
SUCCESSFUL IT MADE AN
1327
01:25:02,480 --> 01:25:03,347
INTERNATIONAL STAR OF THIS GUY.
1328
01:25:03,347 --> 01:25:06,617
♪
1329
01:25:06,617 --> 01:25:10,288
>> TALK TO ME, HUDSON.
1330
01:25:10,288 --> 01:25:14,325
>> FAST FORWARD 20 YEARS TO
1986.
1331
01:25:14,325 --> 01:25:19,497
FINDING ITS PLACE AS ONE OF THE
HIGHEST GROSSING FILMS WORD WILD
1332
01:25:19,497 --> 01:25:24,435
AND WENT ON TO WIN TWO ACADEMY
AWARDING.
1333
01:25:24,435 --> 01:25:27,305
"THE GOD FATHER 2" SEQUEL.
1334
01:25:27,305 --> 01:25:30,308
>> IT'S A MOVIE THAT SOME PREFER
TO THE ORIGINAL.
1335
01:25:30,308 --> 01:25:35,279
THAT IS THE RAREST OF ALL MOVIES
IN HOLLYWOOD, THE SEQUEL THAT
1336
01:25:35,279 --> 01:25:38,683
CAN BE ARGUABLY BETTER THAN THE
FIRST.
1337
01:25:38,683 --> 01:25:44,355
>> AND "STAR WARS" EPISODE FIVE.
THAT EPIC BLOCKBUSTER GARNERED
1338
01:25:44,355 --> 01:25:45,223
TWO OSCARS.
1339
01:25:45,223 --> 01:25:50,461
>> GOOD MORNING, AVIATORS.
THIS IS YOUR CAPTAIN SPEAKING.
1340
01:25:50,461 --> 01:25:55,433
>> "TOP GUN" AND "AVATAR: THE
WAY OF WATER," YOU NEED TO SEE
1341
01:25:55,433 --> 01:26:00,705
IT ON A BIG SCREEN.
THESE ARE SEQUELS WITH A LARGER
1342
01:26:00,705 --> 01:26:02,740
PURPOSE, THAT DREW PEOPLE BACK
1343
01:26:02,740 --> 01:26:09,347
TO THEATERS AFTER THE PANDEMIC.
1344
01:26:09,347 --> 01:26:14,352
>> YOU CANNOT TALK ABOUT SEQUELS
WITHOUT TALKING ABOUT "ROCKY."
1345
01:26:14,352 --> 01:26:18,756
IT'S ONE OF THE MOST ICONIC
SEQUELS OF MOVIE FRANCHISE
1346
01:26:18,756 --> 01:26:20,691
HISTORY.
SO MANY THINGS, THERE THE FIGHT
1347
01:26:20,691 --> 01:26:25,530
SCENES TO THE ICONIC PHILLY
STEPS TO "EYE OF THE TIGER."
1348
01:26:25,530 --> 01:26:29,667
EVERY TIME I HEAR THAT SONG I
THINK ABOUT "ROCKY" AND NOW WE
1349
01:26:29,667 --> 01:26:37,608
HAVE THE NEXT GENERATION OF THE
SEQUELS WITH W"CREED" WITH
1350
01:26:37,608 --> 01:26:45,349
MICHAEL B. JORDAN MAKING HIS
1351
01:26:45,349 --> 01:26:52,690
EDITORIAL DEBUT WITH "CREED III."
1352
01:26:52,690 --> 01:26:57,662
>> AND "BLACK PANTHER: WAKANDA
FOREVER," EARNING FIVE OSCAR
1353
01:26:57,662 --> 01:26:57,795
NODS.
1354
01:26:57,795 --> 01:27:05,503
>> IT DEFEATED THIS TROPE THAT A
BLACK-LED CAST COULDN'T CARRY
1355
01:27:05,503 --> 01:27:13,477
THE BOX OFFICE GLOBALLY.
WELL, "BLACK PANTHER" PROVED IT
1356
01:27:13,477 --> 01:27:16,581
TO BE WRONG FOR ANY OTHER STUDIO
THAT IS THINKING OR NOT THINKING
1357
01:27:16,581 --> 01:27:23,521
ABOUT GREEN LIGHTING A BLACK
ENSEMBLE, BECAUSE THAT TROPE NO
1358
01:27:23,521 --> 01:27:25,690
LONGER EXISTS WHY THEY DIDN'T
GREEN LIGHT IT.
1359
01:27:25,690 --> 01:27:29,527
SO THE SOCIAL ASPECT OF IT,
THERE WAS THIS BRILLIANT FILM
1360
01:27:29,527 --> 01:27:29,660
MAKING.
1361
01:27:29,660 --> 01:27:33,598
>> IN ALL, MORE THAN A DOZEN
MOVIE SEQUELS HIT THE BIG SCREEN
1362
01:27:33,598 --> 01:27:36,868
IN 2022, AND DELIVERED BIG-TIME.
BUT WHAT ABOUT THOSE WE'RE STILL
1363
01:27:36,868 --> 01:27:39,871
LONGING TO SEE?
1364
01:27:39,871 --> 01:27:47,612
>> HEY, YOU GUYS! JUST HOW CRAZYH
1365
01:27:47,612 --> 01:27:49,347
ASIANS NOW?
KEEP THEM COMING, HOLLYWOOD.
1366
01:27:49,347 --> 01:27:54,352
WE WANT MORE.
1367
01:27:54,352 --> 01:27:57,388
>> IF YOU DIDN'T KNOW BEFORE,
YOU DO NOW.
1368
01:27:57,388 --> 01:28:01,792
THERE IS POWER IN THE SEQUEL,
AND IT SEEMS TO ME THAT A GREAT
1369
01:28:01,792 --> 01:28:05,496
FILM WITH ALMOST AS BIG A NAME
WILL GUARANTEE THERE WILL BE A
1370
01:28:05,496 --> 01:28:09,667
SEQUEL IN THE MAKING BECAUSE
THEY KNOW THERE'S A LOT MORE
1371
01:28:09,667 --> 01:28:10,568
MONEY TO BE MADE.
1372
01:28:10,568 --> 01:28:15,473
>> I'M ALL ABOUT THE SEQUEL.
ALL RIGHT, KELLY, MAYBE ANOTHER
1373
01:28:15,473 --> 01:28:16,908
"GOONIES," I COULD BE UP FOR
THAT, TOO.
1374
01:28:16,908 --> 01:28:23,614
COMING UP HERE, WE GO FROM THE
BOX OFFICE HITS TO THE BIGGEST
1375
01:28:23,614 --> 01:28:25,483
WINNERS, WE WILL TELL YOU WHO IS
1376
01:28:36,694 --> 01:28:39,530
>>> WELCOME BACK.
YOU'RE LOOKING LIVE AT THIS
1377
01:28:39,530 --> 01:28:41,933
YEAR'S CHAMPAGNE COLORED OSCARS
ARRIVAL CARPET.
1378
01:28:41,933 --> 01:28:44,835
WE'RE STILL GETTING USED TO
SAYING THAT, BUT THE PICTURES
1379
01:28:44,835 --> 01:28:49,740
ARE LOOKING GOOD SO FAR.
WHILE THE NOMINEES AND
1380
01:28:49,740 --> 01:28:52,877
PRESENTERS WILL BE LINED UP IN
FRONT OF DOZENS FROM AROUND THE
1381
01:28:52,877 --> 01:28:53,577
WORLD.
1382
01:28:53,577 --> 01:28:55,646
>> YOU SEE REPORTERS FROM AS FAR
1383
01:28:55,646 --> 01:29:01,886
AWAY AS EUROPE, AUSTRALIA, ASIA
BROADCASTING LIVE BACK HOME.
1384
01:29:01,886 --> 01:29:06,590
MANY OF THOSE FANS ARE ALL ABOUT
THE FASHION, WHICH BRINGS US TO
1385
01:29:06,590 --> 01:29:11,696
OUR STYLE EXPERT.
SO LET'S TAULK ABOUT WHO THE
1386
01:29:11,696 --> 01:29:14,799
WINNERS IN PASSION, OTHER THAN
WHIT JOHNSON.
1387
01:29:14,799 --> 01:29:18,636
>> I'M GIVING YOU FASHION LINGO
HERE.
1388
01:29:18,636 --> 01:29:21,973
>> IF WE'RE GOING TO TALK ABOUT
FASHION WINNERS, I HAVE TO GIVE
1389
01:29:21,973 --> 01:29:25,876
A SPECIAL SHOUTOUT TO MICHELLE
YEOH FOR MANY REASONS.
1390
01:29:25,876 --> 01:29:29,914
SHE'S BREAKING THE BOUNDARIES
WITH HER NOMINATION AND BEING A
1391
01:29:29,914 --> 01:29:32,850
FRONT-RUNNER TO TAKE HOME THE
GOLDEN GUY TONIGHT.
1392
01:29:32,850 --> 01:29:37,722
BUT WE HAVE SEEN ON THIS ENTIRE
AWARD CIRCUIT, THAT SHE'S DONE
1393
01:29:37,722 --> 01:29:42,059
INCREDIBLE STYLE BY PROVING YOU
DON'T HAVE TO BE YOUNG TO BREAK
1394
01:29:42,059 --> 01:29:43,661
THROUGH.
WE ALWAYS HEARD PEOPLE SAY 50
1395
01:29:43,661 --> 01:29:48,733
AND FABULOUS.
HOW ABOUT SMOLDERING AND 60.
1396
01:29:48,733 --> 01:29:53,804
SHE'S REALLY DOING THOSE
MOMENTS, SHE'S BEEN DARING,
1397
01:29:53,804 --> 01:29:56,974
HASN'T BEEN PREDICTABLE OR
BORING.
1398
01:29:56,974 --> 01:30:02,646
AND SOMETIMES THOSE ICONIC
MOMENTS, WHEN THEY WIN, THE
1399
01:30:02,646 --> 01:30:05,616
DRESS BECOMES AS ICONIC.
1400
01:30:05,616 --> 01:30:10,755
WE HEAR HALLE BARRY.
1401
01:30:10,755 --> 01:30:17,661
OR JEVEN JULIA ROBERTS.
1402
01:30:17,661 --> 01:30:20,965
>> THEN WE'LL SEW A LOT OF THE
KNOCKOFFS.
1403
01:30:20,965 --> 01:30:22,600
>> ALWAYS, ALWAYS.
1404
01:30:22,600 --> 01:30:25,536
>> WHO ARE YOU THINKING ABOUT AS
FAR AS A BREAKOUT FASHION EXPERT
1405
01:30:25,536 --> 01:30:25,669
TONIGHT?
1406
01:30:25,669 --> 01:30:28,973
>> WE'VE SEEN A LOT OF BREAKOUT
STARS.
1407
01:30:28,973 --> 01:30:37,748
I LOVE STEPHANIE HSU FROM
1408
01:30:37,748 --> 01:30:43,854
"EVERYTHING EVERYWHERE ALL AT
ONCE."
1409
01:30:43,854 --> 01:30:48,759
>> IT'S LIKE SHOPPING YOUR
CLOSET, SO WE'LL GIVE YOU A
1410
01:30:48,759 --> 01:30:48,926
POINT --
1411
01:30:48,926 --> 01:30:52,596
>> SUSTAINABILITY.
THAT'S WHAT IT'S ALL ABOUT.
1412
01:30:52,596 --> 01:30:57,735
>> AND JEN ORTEGA.
FLORENCE, WHO WAS RECENTLY AT
1413
01:30:57,735 --> 01:31:01,739
THE VALENTINO SHOW IN PARIS AND
THE PAPARAZZI WENT CRAZY FOR HER.
1414
01:31:01,739 --> 01:31:03,707
THEY ARE GETTING THEIR BILLING,
AS WELL.
1415
01:31:03,707 --> 01:31:07,645
>> AND SINCE YOU'VE BEEN WALKING
ME THROUGH THIS, LET'S TALK
1416
01:31:07,645 --> 01:31:09,914
ABOUT THE FELLOWS.
WHAT ARE YOU LOOKING FOR TODAY?
1417
01:31:09,914 --> 01:31:13,951
>> THE GUYS ALWAYS GET THE SHORT
END OF THE STICK. NO MORE.
1418
01:31:13,951 --> 01:31:18,756
ONCE UPON A TIME GEORGE CLOONEY
WOULD SAY, I JUST GOT MY TUXEDO
1419
01:31:18,756 --> 01:31:22,993
3 MINUTES BEFORE THE SHOW.
NOW THEY'RE SITTING DOWN WITH
1420
01:31:22,993 --> 01:31:30,868
STYLISTS MONTHS IN ADVANCE,
DESIGNING WHAT THEY WANT TO WEAR.
1421
01:31:30,868 --> 01:31:36,874
TIMOTHY HAS BROKEN BROGROUND TO
1422
01:31:36,874 --> 01:31:40,845
WHAT MEN CAN BE DRESSED LIKE ON
THE RED CARPET.
1423
01:31:40,845 --> 01:31:42,713
>> I WAS GOING TO WEAR THAT
TODAY.
1424
01:31:42,713 --> 01:31:45,583
>> MICHAEL B. JORDAN IS
PRESENTING TONIGHT.
1425
01:31:45,583 --> 01:31:48,919
WE WOULD LOVE TO SEE WHAT HE'S
WEARING.
1426
01:31:48,919 --> 01:31:53,991
BRIAN TYREE HENRY WHO HAS BEEN
GREAT WITH ACCESSORIES THIS
1427
01:31:53,991 --> 01:31:59,697
SEASON.
AND HE'S REALLY PUSHING THE
1428
01:31:59,697 --> 01:32:06,704
BOUNDARIES, IN A TUXEDO JUMP
SUIT.
1429
01:32:06,704 --> 01:32:09,974
OF COURSING AUSTIN BUTLER IS,
YOU KNOW, BASICALLY A SUPERMODEL
1430
01:32:09,974 --> 01:32:12,810
AT THIS POINT.
AND PAUL MESCAL, WHO I ALSO LOVE.
1431
01:32:12,810 --> 01:32:16,947
>> SHOULD WE GIVE A SHOUTOUT TO
ANDRE IN BROOKLYN?
1432
01:32:16,947 --> 01:32:22,920
>> THAT'S RIGHT.
BESPOKE FASHIONS, ANDRE WOMACK,
1433
01:32:22,920 --> 01:32:26,824
THANK YOU FOR THE TUXEDO.
I SHOP LOCAL. THANK YOU, JOE.
1434
01:32:26,824 --> 01:32:28,025
>> THANKS, JOE.
1435
01:32:28,025 --> 01:32:32,796
>>> COMING UP NEXT, THE EARLY
1436
01:32:32,796 --> 01:32:37,835
ROLES THAT GOT THE ACTORS FIRST
NOTICED, DO YOU RECOGNIZE THE
1437
01:32:37,835 --> 01:32:40,037
TEENAGER YOU'RE ABOUT TO SEE?
HERE IS A HINT.
1438
01:32:40,037 --> 01:32:42,706
NOTICE THE GUITAR IN HIS HANDS.
WE'LL BE RIGHT BACK.
1439
01:32:55,986 --> 01:32:56,887
♪
1440
01:32:56,887 --> 01:33:00,991
>>> AS WE CONTINUE OUR COUNTDOWN
TO TONIGHT'S AWARDS, WE TURN TO
1441
01:33:00,991 --> 01:33:05,796
THE FIVE TALENTED ARTISTS VYING
FOR THE BEST ACTOR OSCAR.
1442
01:33:05,796 --> 01:33:09,934
ALL FIVE IN THIS CATEGORY ARE
FIRST-TIME NOMINEES, SO FOR
1443
01:33:09,934 --> 01:33:12,102
THEM, THIS IS KIND OF A COMING
OUT PARTY.
1444
01:33:12,102 --> 01:33:16,807
BUT THEIR PATH TO THE OSCARS WAS
ANYTHING BUT DIRECT.
1445
01:33:16,807 --> 01:33:20,711
HERE THEY ARE LONG BEFORE THEY
WERE IN THE OSCAR SPOTLIGHT.
1446
01:33:20,711 --> 01:33:26,083
>> SHE WASN'T TRYING TO HURT
HIM, SHE WAS TRYING TO HELP HIM.
1447
01:33:26,083 --> 01:33:29,853
>> BRENDAN FRASER IS RIDING A
CAREER HIGH FOR HIS NOMINATION
1448
01:33:29,853 --> 01:33:30,054
FOR "THE WHALE."
1449
01:33:30,054 --> 01:33:36,894
>> DO YOU EVER GET THE FEELING
THAT PEOPLE ARE INCAPABLE OF NOT
1450
01:33:36,894 --> 01:33:38,963
CARING?
1451
01:33:38,963 --> 01:33:46,737
>> NOT SO CELEBRATED, HIS ROLE
AS THE CLINICAL TRIAL PATIENT -
1452
01:33:46,737 --> 01:33:48,872
CANDY" 1996.
1453
01:33:48,872 --> 01:33:52,009
>> MY FACE TELLS ME IT'S SUGAR.
1454
01:33:52,009 --> 01:33:56,046
>> HE PLAYS SAILOR NUMBER TWO IN
THIS EARLY FILM "DOGFIGHT"
1455
01:33:56,046 --> 01:34:01,118
BEFORE FIGHTING ANTI-SEMITISM IN
HIS BREAKOUT RULE "SCHOOL TIES"
1456
01:34:01,118 --> 01:34:01,785
IN 1992.
1457
01:34:01,785 --> 01:34:06,924
>> YOU PEOPLE ARE VERY
DETERMINED, AREN'T YOU?
1458
01:34:06,924 --> 01:34:08,826
>> SOMETIMES WE HAVE TO BE, SIR.
1459
01:34:08,826 --> 01:34:13,230
>> WITH A SUPPORTING CAST THAT
INCLUDED MATT DAMON, BEN AFFLECK
1460
01:34:13,230 --> 01:34:15,065
AND CHRIS O'DONNELL.
1461
01:34:15,065 --> 01:34:18,168
>> FIND IF I ASK, HOW DID YOU
WIND UP HERE?
1462
01:34:18,168 --> 01:34:22,039
>> FOR THE FANS, HE'LL ALWAYS BE
"ENCINO MAN."
1463
01:34:22,039 --> 01:34:24,074
>> I'LL BE BACK.
1464
01:34:24,074 --> 01:34:29,213
>> AND REUNITING WITH PAULEY
SHORE FOR THIS CAMEO IN
1465
01:34:29,213 --> 01:34:29,980
"SON-IN-LAW."
1466
01:34:29,980 --> 01:34:39,790
>> YOU WORE A COSTUME.
1467
01:34:39,790 --> 01:34:42,059
>> OH, GROSS!
1468
01:34:42,059 --> 01:34:46,997
>> PAUL MESCAL IS NOMINATED FOR
PLAYING A DAD NAVIGATING HIS
1469
01:34:46,997 --> 01:34:49,967
DAUGHTER'S TEENAGE YEARS IN
"AFTERSUN."
1470
01:34:49,967 --> 01:34:54,104
>> I LOVE TO DANCE.
1471
01:34:54,104 --> 01:35:02,012
>> HE'S A CABANA BOY IN "THE
LOST DAUGHTER."
1472
01:35:02,012 --> 01:35:02,880
AND CHECK THIS OUT.
1473
01:35:02,880 --> 01:35:04,982
♪
1474
01:35:04,982 --> 01:35:11,288
THAT'S PAUL IN THE ROLLING
STONE'S OFFICIAL VIDEO OF THEIR
1475
01:35:11,288 --> 01:35:12,022
SONG "SCARLET."
1476
01:35:12,022 --> 01:35:15,192
♪
1477
01:35:15,192 --> 01:35:18,228
>> BILL NIGHY IS NOMINATED FOR
1478
01:35:18,228 --> 01:35:25,302
PLAYING A DYING MAN IN "LIVING."
1479
01:35:25,302 --> 01:35:28,972
>> IF ONLY TO BE ALIVE LIKE THAT
FOR ONE DAY.
1480
01:35:28,972 --> 01:35:33,944
>> WE REMEMBER HIM AS BILLY MAC
FROM "LOVE ACTUALLY."
1481
01:35:33,944 --> 01:35:38,982
TURNS OUT HE HAD PRACTICE FOR
THE ROLE YEARS EARLIER IN 1998'S
1482
01:35:38,982 --> 01:35:39,983
"STILL CRAZY."
1483
01:35:39,983 --> 01:35:43,253
♪
1484
01:35:43,253 --> 01:35:45,122
♪ WALKING FROM THE GATES OF
1485
01:35:45,122 --> 01:35:48,292
EDEN, I COULD HEAR THE SOUNDS OF
FREEDOM ♪
1486
01:35:48,292 --> 01:35:52,296
>> IN "BLOW DRY" HE WAS A HAIR
DRESSER IN A RUTHLESS
1487
01:35:52,296 --> 01:35:53,130
COMPETITION.
1488
01:35:53,130 --> 01:35:54,998
>> THE COMPETITION HAS STARTED.
1489
01:35:54,998 --> 01:36:01,939
>> AND JUST LOOK AT HIM AS DIANE
KEATON'S ACTING BUDDY FROM "THE
1490
01:36:01,939 --> 01:36:03,340
LITTLE DRUMMER GIRL" IN 1984.
1491
01:36:03,340 --> 01:36:05,909
>> WHAT IS HE DOING HERE?
1492
01:36:05,909 --> 01:36:09,913
>> COLIN FARRELL DISCOVERS WHAT
IT'S LIKE TO LOSE A FRIEND IN
1493
01:36:09,913 --> 01:36:10,214
"THE BANSHEES OF INISHERIN."
1494
01:36:10,214 --> 01:36:11,315
>> YOU KNOW WHAT YOU USED TO BE?
1495
01:36:11,315 --> 01:36:13,283
>> NO, WHAT DID I USED TO BE?
1496
01:36:13,283 --> 01:36:17,121
>> NICE.
YOU USED TO BE NICE!
1497
01:36:17,121 --> 01:36:21,225
>> ON "SCRUBS," GIVING LIFE
LESSONS.
1498
01:36:21,225 --> 01:36:26,397
>> YOU HAVE TO GET OUT ON THE
STREETS AND TALK TO A STRANGER,
1499
01:36:26,397 --> 01:36:30,334
DRINK A BEER WITH BREAKFAST.
TAKE THE UGLIEST GIRL HOME.
1500
01:36:30,334 --> 01:36:37,307
>> AND IN HIS FIRST APPEARANCE,
HE'S WATCHING WITH HIS BUDYS IN
1501
01:36:37,307 --> 01:36:39,276
1995.
AND JUST A COUPLE YEARS AGO,
1502
01:36:39,276 --> 01:36:43,313
BREAKING HEARTS IN "FALLING FOR
A DANCER."
1503
01:36:43,313 --> 01:36:46,150
>> CARE TO DANCE?
1504
01:36:46,150 --> 01:36:51,121
>> OH, WELL.
1505
01:36:51,121 --> 01:36:53,390
>> AUSTIN BUTLER CAPTIVATES AS
ELVIS.
1506
01:36:53,390 --> 01:37:00,964
♪
1507
01:37:00,964 --> 01:37:05,269
JUST LIKE ELVIS, BUTLER GOT HIS
START AS A HEARTTHROB.
1508
01:37:05,269 --> 01:37:07,938
>> HI, I'M LUCAS' COUSIN, DEREK.
1509
01:37:07,938 --> 01:37:09,006
>> YES, YOU ARE.
1510
01:37:09,006 --> 01:37:12,342
>> HIS FIRST TV ROLE ON "HANNA
MONTANA" IN 2006.
1511
01:37:12,342 --> 01:37:18,015
>> IT'S JUST A MOVIE, IT'S JUST
A MOVIE.
1512
01:37:18,015 --> 01:37:20,317
>> WE'RE SAFE.
1513
01:37:20,317 --> 01:37:27,324
>> IT'S IRONIC NOW THAT ON
I-CARLY, HE PLAYED A SINGER WHO
1514
01:37:27,324 --> 01:37:28,091
COULDN'T CARRY A TUNE.
1515
01:37:28,091 --> 01:37:31,028
♪ YOU'RE SO BEAUTIFUL, I NEED
1516
01:37:31,028 --> 01:37:32,396
THE WORLD TO SEE ♪
1517
01:37:32,396 --> 01:37:37,067
>> HOW'S THAT?
1518
01:37:37,067 --> 01:37:40,137
>> AND WHILE GATHERING PHRASE
FOR MASTERING THE VOICE OF THE
1519
01:37:40,137 --> 01:37:40,337
KING --
1520
01:37:40,337 --> 01:37:45,075
>> THIS IS SOMETHING I AIN'T
NEVER SAID TO NOBODY BEFORE, I
1521
01:37:45,075 --> 01:37:46,243
BELIEVE I CAN BE GREAT, TOO.
1522
01:37:46,243 --> 01:37:51,114
>> WE LOVE EVEN MORE HIS ATTEMPT
AT THIS CANADIAN ACCENT IN KEVIN
1523
01:37:51,114 --> 01:37:54,351
SMITH'S "YOGA HOSERS, HEY."
1524
01:37:54,351 --> 01:37:58,155
>> SORRY ABOUT THAT.
HE'S SUCH A SITCOM.
1525
01:37:58,155 --> 01:38:05,062
I GUESS I GOT A LITTLE CARRIED
AWAY THERE. SORRY ABOUT THAT.
1526
01:38:05,062 --> 01:38:09,333
>> SO IS HE GOING WITH COMEDY
WITH THAT CANADIAN ACCENT?
1527
01:38:09,333 --> 01:38:12,236
>> NOT SURE ON THAT ONE.
MORE ELVIS THAN THAT ONE.
1528
01:38:12,236 --> 01:38:16,039
>> I GUESS WE'LL HAVE TO ASK HIM
IF WE SEE HIM LATER ON.
1529
01:38:16,039 --> 01:38:19,343
>> WE ARE ALSO GETTING CLOSER TO
SEEING THE NOMINEES LIVE ON THE
1530
01:38:19,343 --> 01:38:22,446
CARP NET A COUPLE OF HOURS.
FOUR OF THEM IN THE ACTING
1531
01:38:22,446 --> 01:38:29,353
CATEGORIES COME FROM THE SAME
MOVIE, AN IMPRESSIVE SHOWING FOR
1532
01:38:29,353 --> 01:38:31,221
"EVERYTHING EVERYWHERE ALL AT
ONCE," WHICH SNAGGED A TOTAL OF
1533
01:38:31,221 --> 01:38:34,424
11 NOMINATIONS.
WE WILL HEAR FROM THE MOVIE'S
1534
01:38:34,424 --> 01:38:35,225
DIRECTORS, RIGHT AFTER THIS.
1535
01:38:46,336 --> 01:38:51,508
>>> AND THE STARS ARE ARRIVING
ON THE CHAMPAGNE CARPET.
1536
01:38:51,508 --> 01:38:55,312
THAT'S LAVERN COX JUST ARRIVING
AND LOOKING BEAUTIFUL.
1537
01:38:55,312 --> 01:38:57,514
>> WE'RE GETTING THE PICTURES
TAKEN.
1538
01:38:57,514 --> 01:38:59,149
>> THEY HAVE A WIND MACHINE.
1539
01:38:59,149 --> 01:39:01,285
>> THEY HAVE IT ALL GOING ON OUT
HERE.
1540
01:39:01,285 --> 01:39:05,222
CLOSER TO THIS YEAR'S CEREMONY
OF THE 20 ACTING NOMINEES, WE'RE
1541
01:39:05,222 --> 01:39:09,459
GETTING CLOSER TO THAT TONIGHT.
FOUR ARE OF ASIAN DESCENT.
1542
01:39:09,459 --> 01:39:13,096
THAT'S NEVER HAPPENED BEFORE.
THREE OF THOSE NOMINEES ARE FROM
1543
01:39:13,096 --> 01:39:17,200
A FILM THAT MAY TAKE HOME THE
PRIZE TONIGHT, THE BEST PICTURE.
1544
01:39:17,200 --> 01:39:22,406
>> THERE'S BEEN SO MUCH BUZZ
ABOUT "EVERYTHING EVERYWHERE ALL
1545
01:39:22,406 --> 01:39:24,141
AT ONCE."
IT'S THE MOST NOMINATED FILM OF
1546
01:39:24,141 --> 01:39:25,475
THE YEAR WITH 11 NOMINATIONS
1547
01:39:25,475 --> 01:39:32,182
TONIGHT, INCLUDING BEST DIRECTOR
1548
01:39:32,182 --> 01:39:37,454
FOR DANIEL KWAN AND DANIEL
SCHEINERT.
1549
01:39:37,454 --> 01:39:43,527
TH DIRECTOR'S FAVORITE GO-TO
KARAOKE SONG IS "TORN."
1550
01:39:43,527 --> 01:39:47,564
>> WHICH ONE OF YOU IS GOING TO
1551
01:39:47,564 --> 01:39:52,536
ENTERTAIN ME BY BELTING OUT
"TORN?"
1552
01:39:52,536 --> 01:39:58,108
>> THAT'S MORE OF YOUR KARAOKE
SONG.
1553
01:39:58,108 --> 01:39:58,408
♪
1554
01:39:58,408 --> 01:40:01,578
♪ THIS IS HOW I FEEL
1555
01:40:01,578 --> 01:40:05,349
♪ LYING NAKED
1556
01:40:05,349 --> 01:40:07,451
>> IS THIS YOUR GO-TO FIRST
QUESTION?
1557
01:40:07,451 --> 01:40:10,153
>> PRETTY MUCH.
CATE BLANCHETT JUST STARED AT ME
1558
01:40:10,153 --> 01:40:15,492
WHEN I ASKED HER THAT.
SO YOU GUYS MET AS COUNSELORS AT
1559
01:40:15,492 --> 01:40:16,326
A CAMP?
1560
01:40:16,326 --> 01:40:22,165
>> WE MET IN SCHOOL, THEN WE GOT
A SUMMER JOB AS LIKE PAs AT A
1561
01:40:22,165 --> 01:40:25,636
FILM SUMMER CAMP.
OUR JOB WAS TO SUPERVISE KIDS
1562
01:40:25,636 --> 01:40:31,441
WHILE THEY MADE SHORT FILMS.
WE WOULD ENCOURAGE THEM TO MAKE
1563
01:40:31,441 --> 01:40:36,446
INCREASINGLY STRANGE AND MILDLY
DANGEROUS SHORT FILMS AND GET
1564
01:40:36,446 --> 01:40:37,614
PAID FOR IT.
1565
01:40:37,614 --> 01:40:41,184
>> IT WAS THE BEST JOB.
WE WERE SPENDING SO MUCH TIME
1566
01:40:41,184 --> 01:40:43,420
WITH THESE KIDS THAT WE GOT JELL
LOSS.
1567
01:40:43,420 --> 01:40:46,523
ONE DAY AFTER WORK, IT WAS LIKE
2:00 IN THE MORNING.
1568
01:40:46,523 --> 01:40:53,430
THE FIRST THING WE MADE TOGETHER
WE PUT ONLINE AND THAT IS HOW
1569
01:40:53,430 --> 01:40:56,299
EVERYTHING STARTED.
IT WAS JUST US PLAYING AROUND.
1570
01:40:56,299 --> 01:40:57,701
>> PLAYING AROUND ON A SWING
SET.
1571
01:40:57,701 --> 01:41:02,406
YOU DESCRIBED YOURSELVES AS HYPE
MEN WHEN IT COMES TO BEING
1572
01:41:02,406 --> 01:41:04,174
DIRECTORS.
WHAT DO YOU MEAN WHEN YOU SAY
1573
01:41:04,174 --> 01:41:04,341
THAT?
1574
01:41:04,341 --> 01:41:06,510
>> I FEEL LIKE I'M A CHEERLEADER
AT TIMES.
1575
01:41:06,510 --> 01:41:08,545
>> THAT'S HIS SUPERPOWER.
1576
01:41:08,545 --> 01:41:16,353
>> I JUST LOVE TO CURATE PEOPLE
WHEN THEY'RE TALENTED.
1577
01:41:16,353 --> 01:41:22,259
WE MET OFFICIAL AND WE COULD
TELL THERE WAS SO MUCH MORE TO
1578
01:41:22,259 --> 01:41:25,629
MICHELLE YEOH.
SO THAT CAME THE FUN, JUST TO
1579
01:41:25,629 --> 01:41:26,663
REMIND HER HOW FUNNY AND
1580
01:41:26,663 --> 01:41:39,576
VULNERABLE AND STRANGE SHE IS.
1581
01:41:39,576 --> 01:41:40,544
>> WHAT THE?
1582
01:41:40,544 --> 01:41:42,679
>> LIKE THAT'S GOING TO MAKE
1583
01:41:42,679 --> 01:41:50,220
THIS CHARACTER SO UNIQUE.
1584
01:41:50,220 --> 01:41:53,457
>> WHAT DID IT MEAN TO YOU TO
SEE MICHELLE YEOH IN THAT
1585
01:41:53,457 --> 01:41:58,562
INTERVIEW SHE DID WITH "GQ"
RESPOND SO EMOTIONALLY TO WHAT
1586
01:41:58,562 --> 01:42:02,699
YOU ARE TALKING ABOUT, TO BEING
SEEN IN A WAY SHE HAD NEVER BEEN
1587
01:42:02,699 --> 01:42:03,467
SEEN BEFORE?
1588
01:42:03,467 --> 01:42:07,437
>> THIS IS SOMETHING I'VE BEEN
WAITING FOR, FOR A LONG TIME,
1589
01:42:07,437 --> 01:42:13,543
THAT'S GOING TO GIVE ME THE
1590
01:42:13,543 --> 01:42:19,349
OPPORTUNITY TO SHOW MY FANS, MY
FAMILY, MY AUDIENCE, WHAT I'M
1591
01:42:19,349 --> 01:42:20,484
CAPABLE OF.
1592
01:42:20,484 --> 01:42:25,622
>> IT WAS SO POWERFUL.
IT MADE ME CRY, AND PART OF ME
1593
01:42:25,622 --> 01:42:30,360
WAS LIKE, WHY DIDN'T SHE EVER
SAY THAT TO MY FACE?
1594
01:42:30,360 --> 01:42:32,662
>> MICHELLE HAS BEEN IN THIS
INDUSTRY A LONG TIME, SO BECAUSE
1595
01:42:32,662 --> 01:42:37,701
OF THAT, SHE'S HAD TO BE GUARDED.
HE EVEN TOLD US THAT.
1596
01:42:37,701 --> 01:42:43,373
HOLLYWOOD, YOU HAVE TO PROTECT
YOURSELF.
1597
01:42:43,373 --> 01:42:47,410
I HAVE SO MUCH RESPECT FOR HER,
FOR BEING ABLE TO SURVIVE THIS
1598
01:42:47,410 --> 01:42:49,613
INDUSTRY FOR THE DECADES THAT
SHE'S BEEN WORKING.
1599
01:42:49,613 --> 01:42:53,583
YOU KNOW, WE DIDN'T EVEN FIND
OUT UNTIL AFTER WE FINISHED
1600
01:42:53,583 --> 01:42:56,353
SHOOTING THE MOVIE, THIS WAS THE
FIRST TIME SHE WAS AT THE TOP OF
1601
01:42:56,353 --> 01:42:59,756
THE CALL SHEET IN HOLLYWOOD.
THE FIRST TIME SHE WAS THE STAR
1602
01:42:59,756 --> 01:43:03,393
OF A HOLLYWOOD PRODUCTION, EVEN
THOUGH INTERNATIONALLY SHE'S AN
1603
01:43:03,393 --> 01:43:07,330
ICON.P>> YOU HAVE SO MUCH GOING.
IT'S SO CREATIVE AN INVENTIVE
1604
01:43:07,330 --> 01:43:12,369
AND SO MUCH OF THE MOMENT.
YET AT ITS HEART, IT'S SUCH A
1605
01:43:12,369 --> 01:43:15,505
POWERFUL, INTIMATE FAMILY STORY.
HOW DID YOU MANAGE TO SUSTAIN
1606
01:43:15,505 --> 01:43:19,442
BOTH OF THOSE QUALITIES WHILE
MAKING IT, AND THEN EDITING IT?
1607
01:43:19,442 --> 01:43:22,445
>> I FEEL LIKE THAT WAS THE
WHOLE POINT WE DECIDED TO DIVE
1608
01:43:22,445 --> 01:43:26,283
INTO THIS MOVIE.
WE WANTED TO REFLECT THE CHAOS
1609
01:43:26,283 --> 01:43:26,650
OF MODERN LIFE.
1610
01:43:26,650 --> 01:43:29,619
>> WAIT, WAIT, NO TIME TO WAIT.
1611
01:43:29,619 --> 01:43:34,357
>> AND ALMOST TEACH OURSELVES
HOW WE COULD SURVIVE IN IT, HOW
1612
01:43:34,357 --> 01:43:37,294
WE COULD THRIVE IN IT.
WHEN WE DISCOVERED THAT, THAT
1613
01:43:37,294 --> 01:43:39,696
WAS THE PRIORITY, RIGHT NEXT TO
THE CHAOS.
1614
01:43:39,696 --> 01:43:44,434
CAN THESE TWO THINGS CO-EXIST,
CAN THE SMALL, FAMILY DRAMA
1615
01:43:44,434 --> 01:43:46,803
STILL SHINE THROUGH?
IF IT CAN MANAGE TO PULL THAT
1616
01:43:46,803 --> 01:43:49,739
OFF, MAYBE WE CAN DO THAT IN OUR
OWN LIVES.
1617
01:43:49,739 --> 01:43:53,810
HAVING THIS CAST PORTRAY THAT
FAMILY IS WHAT PUSHES IT OVER
1618
01:43:53,810 --> 01:43:54,511
THE EDGE.
1619
01:43:54,511 --> 01:43:56,313
>> STOP.
1620
01:43:56,313 --> 01:44:02,586
>> OUCH! HI, DAD.
1621
01:44:02,586 --> 01:44:06,756
>> AND I'M NOT SURE IF IT WILL
WIN OR NOT, BUT "EVERYTHING
1622
01:44:06,756 --> 01:44:10,694
EVERYWHERE ALL AT ONCE" WOULD BE
THE IDEAL BEST PICTURE FOR A
1623
01:44:10,694 --> 01:44:13,697
REINVIGORATED ACADEMY EAGER TO
ATTRACT A YOUNGER AUDIENCE OF
1624
01:44:13,697 --> 01:44:17,801
FANS. IT'S MADE BY ON THE RISE
DIRECTORS WHO SCORED TEN YEARS
1625
01:44:17,801 --> 01:44:22,739
AGO WITH THE "TURN DOWN FOR
WHAT" MUSIC VIDEO.
1626
01:44:22,739 --> 01:44:29,446
IT LIVES IN THE MULTIVERSE, AND
IT'S LIFTED UP AT LEAST THREE
1627
01:44:29,446 --> 01:44:33,783
ABSOLUTELY BELOVED ACTOR'S
CAREERS TO GLORIOUS NEW HEIGHTS
1628
01:44:33,783 --> 01:44:37,520
AND HAPPINESS.
AND IT WAS A BOX OFFICE HIT, TOO.
1629
01:44:37,520 --> 01:44:41,691
SO WHAT IS NOT TO LIKE OR ROOT
FOR? LINSEY?
1630
01:44:41,691 --> 01:44:47,530
>> THEY WENT TO THE CHAMPAGNE
CARPET OF HOLLYWOOD.
1631
01:44:47,530 --> 01:44:49,633
THANK YOU SO MUCH.
I KNOW A LOT OF PEOPLE ARE
1632
01:44:49,633 --> 01:44:53,703
ROOTING FOR THIS MOVIE.
IT WILL BE AN EXCITING NIGHT FOR
1633
01:44:53,703 --> 01:44:57,908
THAT TEAM. STAY TUNED.
WE HAVE A LOT MORE AHEAD TO THE
1634
01:44:57,908 --> 01:44:59,976
COUNTDOWN OF THE 95th ANNUAL
ACADEMY AWARDS.
1635
01:44:59,976 --> 01:45:06,650
WHEN WE RETURN, WE REMEMBER THE
MOST ICONIC MUSICAL PERFORMANCE
1636
01:45:06,650 --> 01:45:09,719
IN OSCARS HISTORY, INCLUDE THING
HIT FROM CELINE DION.
1637
01:45:09,719 --> 01:45:11,821
♪
1638
01:45:24,567 --> 01:45:28,571
>>> JUST GET TRAINED.
JUST TRAIN, TRAIN AS MUCH AS YOU
1639
01:45:28,571 --> 01:45:30,540
CAN.
IT'S VERY HARD NOW TO GET THE
1640
01:45:30,540 --> 01:45:35,578
TYPE OF TRAINING I HAD, WHICH I
APPRENTICED AT THE BBC, I WENT
1641
01:45:35,578 --> 01:45:39,916
TO COLLEGE FOR THREE YEARS, FIVE
YEARS BEFORE I WAS IN FRONT OF A
1642
01:45:39,916 --> 01:45:41,918
CAMERA.
IT'S HARD TO GET THAT NOW.
1643
01:45:41,918 --> 01:45:45,488
BUT GET AS MUCH TRAINING AS YOU
POSSIBLY CAN, AND REALLY EXPAND
1644
01:45:45,488 --> 01:45:48,692
YOUR SKILLS.
1645
01:45:48,692 --> 01:45:52,495
>> THOSE APPRENTICESHIPS PAY
OFF.
1646
01:45:52,495 --> 01:45:55,699
WE ARE BACK LIVE OUTSIDE OF THE
DOLBY THEATRE HERE IN HOLLYWOOD,
1647
01:45:55,699 --> 01:45:59,736
COUNTING DOWN TO TONIGHT'S
ACADEMY AWARDS, WHICH WILL
1648
01:45:59,736 --> 01:46:03,540
FEATURE LIVE APPEARANCES FROM
SEVERAL OF THE BIGGEST STARS
1649
01:46:03,540 --> 01:46:06,743
LIKE DWAYNE JOHNSON, RIHANNA,
MICHAEL B. JORDAN, LADY GAGA,
1650
01:46:06,743 --> 01:46:09,679
AND ONE NAME THAT'S BEEN
MENTIONED THAT EVERYBODY IS
1651
01:46:09,679 --> 01:46:12,549
EXCITED ABOUT, MAVERICK HIMSELF,
TOM CRUISE.
1652
01:46:12,549 --> 01:46:18,755
OF COURSE, HE'S CREDITED AS ONE
OF THE PRODUCERS OF "TOP GUN:
1653
01:46:18,755 --> 01:46:20,623
MAVERICK."
IF THEY WIN, HE WILL GO UP ON
1654
01:46:20,623 --> 01:46:25,795
THE STAGE WITH THE TEAM TO
ACCEPT.
1655
01:46:25,795 --> 01:46:29,866
>> IT HAS BEEN SO MUCH FUN TO
MEET ALL OF THE ACTORS AND
1656
01:46:29,866 --> 01:46:33,003
FILMMAKERS NOMINATED TONIGHT.
BUT I'M LOOKING FORWARD TO
1657
01:46:33,003 --> 01:46:35,638
SEEING THE MUSICAL PERFORMANCES
TONIGHT.
1658
01:46:35,638 --> 01:46:39,743
SO MANY GREAT ARTISTS ARE
NOMINATED THIS YEAR.
1659
01:46:39,743 --> 01:46:42,812
WHO KNOWS WHICH WILL GO FROM
MUSIC ICON TO OSCAR ICON?
1660
01:46:42,812 --> 01:46:47,751
AND THERE IS SUCH A RICH HISTORY
OF BLOCKBUSTER PERFORMANCES ON
1661
01:46:47,751 --> 01:46:51,688
THE OSCARS.
SO WE ASKED CHRIS CONLEY TO OPEN
1662
01:46:51,688 --> 01:46:52,956
UP THE VAULT FOR US.
1663
01:46:52,956 --> 01:46:57,660
>> NOTHING FIRES UP THE OSCAR
AUDIENCE LIKE LIVE MUSIC
1664
01:46:57,660 --> 01:47:03,700
PERFORMED INSIDE THE DOLBY DOES.
LAST YEAR'S RETURN OF THE BEST
1665
01:47:03,700 --> 01:47:11,674
ORIGINAL SONG NOMINEES GETTING
PLAYED
1666
01:47:11,674 --> 01:47:12,876
PLAYED, THERE'S SURE TO BE MORE
IN STORE.
1667
01:47:12,876 --> 01:47:18,548
TO ADD TO THE LIST OF SUPERSTAR
PERFORMANCES.
1668
01:47:18,548 --> 01:47:23,820
♪ IT FEELS SO GOOD TO BE ALIVE
1669
01:47:23,820 --> 01:47:28,024
>> AFTER THE RELEGATION TO THE
PRESHOW IN 2021, THE BEST
1670
01:47:28,024 --> 01:47:32,695
ORIGINAL SONG PERFORMANCES IN
2022 SHOWCASED WHAT A DIFFERENCE
1671
01:47:32,695 --> 01:47:33,797
A POP STAR CAN MAKE.
1672
01:47:33,797 --> 01:47:37,801
>> I WANTED TO HAVE ALL OF THE
NOMINEES FOR ORIGINAL SONG TO
1673
01:47:37,801 --> 01:47:42,038
PERFORM.
TO ME, THAT'S THE BEAUTY OF THE
1674
01:47:42,038 --> 01:47:44,641
OSCARS.
IT GOES PART AND PARCEL WITH THE
1675
01:47:44,641 --> 01:47:45,875
CELEBRATION OF THE MOVIES.
1676
01:47:45,875 --> 01:47:54,684
>> FROM BEYONCE HONORING SERENA
1677
01:47:54,684 --> 01:47:54,984
AND SVENUS --
1678
01:47:54,984 --> 01:47:56,820
♪
1679
01:47:56,820 --> 01:48:01,658
>> BILLIE EILISH'S HEART
POUNDING BALLAD, BY THE YOUNGEST
1680
01:48:01,658 --> 01:48:02,759
ARTIST TO EVER DO ONE.
1681
01:48:02,759 --> 01:48:10,900
♪
1682
01:48:10,900 --> 01:48:15,071
>> YEAR AFTER YEAR, ONLY THE
ACADEMY AWARDS CAN BRING OUT THE
1683
01:48:15,071 --> 01:48:19,776
BIGGEST SUPERSTARS IN MUSIC JUST
WHEN THEY'RE AT THEIR VERY
1684
01:48:19,776 --> 01:48:24,714
HOTTEST, FOR LIVE PERFORMANCES
THAT ENDURE.
1685
01:48:24,714 --> 01:48:28,918
♪
1686
01:48:28,918 --> 01:48:36,059
>> ONE OF BARBRA STREISAND'S TWO
OSCARS, FROM THE 1976 VERSION OF
1687
01:48:36,059 --> 01:48:42,765
"A STAR IS BORN."
THE FILM SHE ONCE WOULD CO-STAR
1688
01:48:42,765 --> 01:48:46,002
ELVIS PRESLEY.
TWO YEARS AGO, IT WAS THE GREAT
1689
01:48:46,002 --> 01:48:48,071
DONNA SUMMER, PERFORMING THE
1690
01:48:48,071 --> 01:48:54,677
GRAMMY, GOLDEN CLUB AND KACADEM
1691
01:48:54,677 --> 01:48:58,815
AWARD WINNING SONG "THANK GOD
IT'S FRIDAY."
1692
01:48:58,815 --> 01:49:02,886
♪
1693
01:49:02,886 --> 01:49:08,992
1991, MADONNA SERVED UP
HOLLYWOOD GLAM IN A MARILYN
1694
01:49:08,992 --> 01:49:14,731
MONROE STYLE PERFORMANCE OF
"SOONER OR LATER."
1695
01:49:14,731 --> 01:49:20,837
♪
1696
01:49:20,837 --> 01:49:27,010
>> NOT ONLY WERE EYES ON MADONNA
FOR HER SULTRY PERFORMANCE, SHE
1697
01:49:27,010 --> 01:49:30,914
ATTENDED WITH MICHAEL JACKSON,
WHO WAS NO STRANGER TO THE
1698
01:49:30,914 --> 01:49:34,050
OSCARS.
GOING BACK TO HIS 1973 DEBUT ON
1699
01:49:34,050 --> 01:49:34,784
THE SHOW.
1700
01:49:34,784 --> 01:49:40,023
>> IT WILL BE SUNG BY A YOUNG
MAN WHOSE TALENT IS MATURE BUT
1701
01:49:40,023 --> 01:49:42,926
WHOSE AGE SUGGESTS MAYBE HE
SHOULDN'T BE UP THIS LATE.
1702
01:49:42,926 --> 01:49:47,764
>> 14, THE SECOND YOUNGEST
ARTIST TO EVER NOTCH A NUMBER
1703
01:49:47,764 --> 01:49:54,771
>> TRY LISTENING TO A MUSIC
WITHOUT MUSIC.
1704
01:49:54,771 --> 01:49:55,004
IT'S ANOTHER CHARACTER.
1705
01:49:55,004 --> 01:49:57,907
♪
1706
01:49:57,907 --> 01:50:01,044
>> BEST ORIGINAL SONG
PERFORMANCES HAVE CONTRIBUTED TO
1707
01:50:01,044 --> 01:50:08,851
SOME OF THE HIGHEST RATED OSCARS
IN HISTORY, LIKE IN 1998, WHEN
1708
01:50:08,851 --> 01:50:15,992
CELINE DION BROUGHT DOWN THE
HOUSE WITH "TITANIC."
1709
01:50:15,992 --> 01:50:18,127
♪ OUR HEARTS WILL GO ON
1710
01:50:18,127 --> 01:50:26,236
>> JUST TEN YEARS AGO, TADELE HD
1711
01:50:26,236 --> 01:50:28,204
THE SPECTACULAR "SKY FALL."
1712
01:50:28,204 --> 01:50:38,982
♪
1713
01:50:38,982 --> 01:50:42,185
>> MOVIES CAPTURE OUR
IMAGINATION.
1714
01:50:42,185 --> 01:50:46,956
BUT MUSIC, YOU CAN REMEMBER
EACTLY WHAT YOU WERE DOING
1715
01:50:46,956 --> 01:50:49,025
SPECIFICALLY WHEN YOU HEARD THAT
FIRST SONG.
1716
01:50:49,025 --> 01:50:52,895
YOUR FIRST KISS, YOUR FIRST
DATE, WHAT WAS PLAYING.
1717
01:50:52,895 --> 01:50:58,835
>> WITH THEIR STAR IS BORN
CHEMISTRY IS ON FULL DISPLAY,
1718
01:50:58,835 --> 01:51:02,105
LADY GAGA AND BRADLEY COOPER HAD
AUDIENCES SWOONING AND RELIVING
1719
01:51:02,105 --> 01:51:06,042
THE MOMENT IN 2019.
1720
01:51:06,042 --> 01:51:08,144
♪
1721
01:51:08,144 --> 01:51:14,117
>> AND AT THE 85th OSCARS,
JENNIFER HUDSON NEEDED JUST A
1722
01:51:14,117 --> 01:51:18,788
SINGLE LINE TO MELT THE STAGE
AND THE HEARTS OF MU VERSE.
1723
01:51:18,788 --> 01:51:21,057
PURE SUPERSTAR GREATNESS THAT
ONLY OSCAR PROVIDES.
1724
01:51:21,057 --> 01:51:36,039
♪
1725
01:51:36,039 --> 01:51:38,207
[ APPLAUSE ]
1726
01:51:38,207 --> 01:51:42,979
>> AND YES, AS WE HAVE BEEN
TELLING YOU, LADY GAGA WILL BE
1727
01:51:42,979 --> 01:51:49,252
PERFORMING LIVE ON TONIGHT'S
SHOW, TO GIVE US A LITTLE DAY OF
1728
01:51:49,252 --> 01:51:52,188
SHOW EXCITEMENT AND THRILLS WITH
A LAST-MINUTE DEVELOPMENT.
1729
01:51:52,188 --> 01:51:55,124
>> FOR THE LAST FEW DAYS, WE
THOUGHT SHE WAS OUT AND RIHANNA
1730
01:51:55,124 --> 01:52:02,965
WAS IN. NOW THEY'RE BOTH IN.
JUST ONE MORE SURPRISE TO MIX IN.
1731
01:52:02,965 --> 01:52:03,232
CHRIS, THANK YOU.
1732
01:52:03,232 --> 01:52:07,136
>>> COMING UP, WE ARE GOING TO
TAKE A LOOK AT THE RACE FOR BEST
1733
01:52:07,136 --> 01:52:10,039
SUPPORTING ACTRESS.
WILL ONE OF THE HOLLYWOOD
1734
01:52:10,039 --> 01:52:13,142
VETERANS NOMINATED, ANGELA
BASSETT OR JAMIE LEE CURTIS,
1735
01:52:13,142 --> 01:52:18,214
WALK AWAY WITH THE OSCAR TONIGHT?
OUR EXPERTS WAY IN WHEN WE COME
1736
01:52:28,891 --> 01:52:31,260
>>> WELCOME BACK TO HOLLYWOOD.
WE ARE LIVE FROM OUR GREAT
1737
01:52:31,260 --> 01:52:35,031
POSITION ALONG THE ARRIVALS
CARPET AT THE DOLBY THEATRE.
1738
01:52:35,031 --> 01:52:37,100
THE SITE OF TONIGHT'S 95th
ANNUAL ACADEMY AWARDS.
1739
01:52:37,100 --> 01:52:40,970
WE'RE STARTING TO SEE A BIT MORE
TRAFFIC COMING THROUGH ON THE
1740
01:52:40,970 --> 01:52:43,172
CHAMPAGNE CARPET HERE.
HOPEFULLY THE NOMINEES ON THEIR
1741
01:52:43,172 --> 01:52:46,008
WAY ARE NOT HITTING THAT VERY
NOTORIOUS L. A. TRAFFIC.
1742
01:52:46,008 --> 01:52:48,344
>> YOU DON'T WANT THAT.
THIS IS ONE HOLLYWOOD PARTY THAT
1743
01:52:48,344 --> 01:52:52,148
YOU DON'T WANT TO SHOW UP
FASHIONABLY LATE FOR.
1744
01:52:52,148 --> 01:52:57,019
THAT MAY BE JUST ONE OF THE MANY
THINGS ON THE MINDS OF THE FIVE
1745
01:52:57,019 --> 01:52:59,255
NOMINATED TONIGHT FOR BEST
SUPPORTING ACTRESS.
1746
01:52:59,255 --> 01:53:05,027
HERE IS A REMINDER WHO IS VYING
FOR THE OSCAR IN THIS CAD GOIR.
1747
01:53:05,027 --> 01:53:11,100
-- CATEGORY.
1748
01:53:11,100 --> 01:53:14,103
♪
1749
01:53:14,103 --> 01:53:19,075
>> DO NOT THINK FOR A SECOND
THAT WAKANDA HAS LOST HER
1750
01:53:19,075 --> 01:53:22,945
ABILITY TO PROTECT OUR RESOURCES.
1751
01:53:22,945 --> 01:53:27,950
>> YOU SAY YOU'RE SORRY FOR ONE
MORE TIME, I WILL SINK THIS
1752
01:53:27,950 --> 01:53:30,386
KNIFE RIGHT INTO YOU, I SWEAR TO
GOD.
1753
01:53:30,386 --> 01:53:34,891
>> WAIT, I DON'T KNOW WHAT
1754
01:53:34,891 --> 01:53:41,397
YOU'RE TALKING ABOUT, DOMINIC.
1755
01:53:41,397 --> 01:53:49,138
>> I SEE A STORY.
1756
01:53:49,138 --> 01:53:56,045
I SEE A STACK OF RECEIPTS THAT I
CAN TRACK DOWN YOUR LIVES.
1757
01:53:56,045 --> 01:54:00,383
♪
1758
01:54:00,383 --> 01:54:07,023
>> I DON'T THINK YOU UNDERSTAND
THE MEANING OF THAT WORD.
1759
01:54:07,023 --> 01:54:11,060
>> I CERTAINLY HAD A LOT OF FUN
WHEN I GOT A CHANCE TO SIT DOWN
1760
01:54:11,060 --> 01:54:17,033
WITH ONE OF THOSE NOMINEES.
STEPHANIE HSU FROM "EVERYTHING
1761
01:54:17,033 --> 01:54:22,438
EVERYWHERE ALL AT ONCE."
TAKE A LOOK.
1762
01:54:22,438 --> 01:54:25,241
>> JOY?
WHY DO YOU LOOK SO STUPID?
1763
01:54:25,241 --> 01:54:26,375
>> ARE YOU SUPER EXCITED?
1764
01:54:26,375 --> 01:54:31,080
>> I AM EXCITED.
I MEAN, ALL MY FRIENDS ARE IN
1765
01:54:31,080 --> 01:54:31,180
THERE.
1766
01:54:31,180 --> 01:54:34,250
>> IF THERE'S SOMEBODY YOU COULD
BUMP INTO ON THE RED CARPET, WHO
1767
01:54:34,250 --> 01:54:36,018
WOULD IT BE?
1768
01:54:36,018 --> 01:54:40,223
>> STEVEN SPIELBERG.
I DO FEEL LIKE EXTENDING MY
1769
01:54:40,223 --> 01:54:42,325
GRATITUDE FOR WHAT HE'S DONE FOR
THE FILM INDUSTRY.
1770
01:54:42,325 --> 01:54:45,194
>> WHERE WERE YOU WHEN YOU FOUND
OUT ABOUT THE NOMINATION?
1771
01:54:45,194 --> 01:54:48,164
>> I WAS ON AN AIRPLANE.
I WAS FLYING BACK TO AMERICA
1772
01:54:48,164 --> 01:54:52,368
FROM SYDNEY, AUSTRALIA.
I'M FILMING A MOVIE THERE RIGHT
1773
01:54:52,368 --> 01:54:54,337
NOW.
MY PHONE JUST STARTED EXPLODING.
1774
01:54:54,337 --> 01:55:00,243
ONE OF MY FRIENDS, SHE WAS THE
FIRST ONE WHO JUST SAID LIKE,
1775
01:55:00,243 --> 01:55:01,110
HOLY BLEEP.
1776
01:55:01,110 --> 01:55:04,113
>> I FEEL LIKE THE MOVIE ITSELF
IS A WILD RIDE.
1777
01:55:04,113 --> 01:55:11,387
IT'S A DRAMA, COMEDY, BUT ALSO
1778
01:55:11,387 --> 01:55:13,256
AK ACTION PACKED.
WHAT DID YOU THINK?
1779
01:55:13,256 --> 01:55:17,460
>> I THINK THE DANIELS AND I ARE
CUT FROM THE SAME CLOTH WHEN IT
1780
01:55:17,460 --> 01:55:20,396
COMES TO BIG HEARTED,
BIG-THOUGHT STORIES.
1781
01:55:20,396 --> 01:55:24,534
>> HOW DIFFICULT WAS IT?
YOU ARE PLAYING TWO TOTALLY
1782
01:55:24,534 --> 01:55:27,370
DISTINCT CHARACTERS.
JOY, THE DAUGHTER WHO IS
1783
01:55:27,370 --> 01:55:31,307
DEPRESSED AND STRUGGLING FOR
ACCEPTANCE.
1784
01:55:31,307 --> 01:55:35,511
AND THEN YOU'RE JOBU AT THE SAME
TIME, THE VILLAIN.
1785
01:55:35,511 --> 01:55:39,248
>> THEY ARE TWO EXTREMES OF THE
SAME CORE, AND THAT CORE IS
1786
01:55:39,248 --> 01:55:43,152
NIHILISM.
1787
01:55:43,152 --> 01:55:48,424
>> WHAT IS THE TRUTH?
1788
01:55:48,424 --> 01:55:50,426
>> NOTHING MATTERS.
1789
01:55:50,426 --> 01:55:55,231
>> I HAD TO ALWAYS REMEMBER THAT
UNDERNEATH ALL THAT WAS STILL
1790
01:55:55,231 --> 01:55:59,368
THAT SAME DAUGHTER THAT IS JUST
LONGING FOR HER MOTHER TO SEE
1791
01:55:59,368 --> 01:55:59,468
HER.
1792
01:55:59,468 --> 01:56:03,272
>> TALK TO ME ABOUT WHAT THIS
MEANS AS FAR AS REPRESENTATION.
1793
01:56:03,272 --> 01:56:07,310
BECAUSE THE HEART OF IT, IT'S A
STORY ABOUT IMMIGRATION, BUT IT
1794
01:56:07,310 --> 01:56:08,244
GOES SO FAR BEYOND THAT.
1795
01:56:08,244 --> 01:56:14,450
>> IT'S SO WILD, SO BIG HEARTED
1796
01:56:14,450 --> 01:56:17,219
THAT IT TRANSCENDS IDENTITY
POLITICS.
1797
01:56:17,219 --> 01:56:20,523
IT BECOMES ABOUT A FAMILY AND
IT'S REACHED SO MANY PEOPLE OF
1798
01:56:20,523 --> 01:56:24,060
ALL DIFFERENT BACK GROUNDS AND
IS A PIECE OF ART.
1799
01:56:24,060 --> 01:56:27,430
I FEEL EXCITED ABOUT THAT SPACE
THAT'S OPENED UP, WHERE WE GET
1800
01:56:27,430 --> 01:56:33,202
TO HAVE A MORE DIVERSE FAB TRICK
OF STORYTELLERS, BUT THE THINGS
1801
01:56:33,202 --> 01:56:36,272
WE MAKE DON'T ALWAYS HAVE TO BE
ABOUT THE WAYS IN WHICH WE ARE
1802
01:56:36,272 --> 01:56:38,307
DIFFERENT.
IT CAN ACTUALLY JUST BE ABOUT
1803
01:56:38,307 --> 01:56:41,210
WHAT'S INSIDE OF US, WHAT WE ARE
TRYING TO COMMUNICATE AND HOW WE
1804
01:56:41,210 --> 01:56:42,144
ARE TRYING TO PROCESS.
1805
01:56:42,144 --> 01:56:46,349
>> WHEN YOU WERE DOING THE ROLE,
DID YOU FEEL ANY OF THE
1806
01:56:46,349 --> 01:56:48,517
PARALLELS WITH YOUR OWN LIFE,
WITH YOU AND YOUR MOTHER?
1807
01:56:48,517 --> 01:56:52,121
>> ABSOLUTELY.
I DEFINITELY THINK OUR STORY,
1808
01:56:52,121 --> 01:56:57,193
OUR FILM DOES SUCH A GOOD JOB OF
DESCRIBING FIRST GENERATION,
1809
01:56:57,193 --> 01:56:59,528
SECOND GENERATION EXPERIENCE IN
AN IMMIGRANT FAMILY.
1810
01:56:59,528 --> 01:57:02,331
THERE WERE DEFINITELY A LOT OF
OVERLAPS.
1811
01:57:02,331 --> 01:57:06,168
>> FOR SOME REASON WHEN I'M WITH
YOU, I JUST -- IT JUST HURTS THE
1812
01:57:06,168 --> 01:57:11,273
BOTH OF US.
1813
01:57:11,273 --> 01:57:16,212
SO LET'S JUST GO OUR SEPARATE
WAYS, OKAY?
1814
01:57:16,212 --> 01:57:21,584
JUST LET ME GO!
1815
01:57:21,584 --> 01:57:26,355
>> WHAT'S REALLY COMPLEX ABOUT
HER IS THAT HER ROLE, SHE PLAYS
1816
01:57:26,355 --> 01:57:32,495
SO MANY DIFFERENT CHARACTERS.
SO WILL THE MOW MENTUM OF
1817
01:57:32,495 --> 01:57:35,631
"EVERYTHING EVERYWHERE ALL AT
ONCE" HELP HER WIN AN OSCAR?
1818
01:57:35,631 --> 01:57:40,403
ALL RIGHT, ELIZABETH, WHO WILL
WIN, WHO SHOULD WIN, WHO COULD
1819
01:57:40,403 --> 01:57:40,603
WIN?
1820
01:57:40,603 --> 01:57:43,372
>> WHO WILL WIN?
ANGELA BASSETT.
1821
01:57:43,372 --> 01:57:46,342
I THINK SHE'S GOING TO DO THE
THING AS EVERYBODY HAS BEEN
1822
01:57:46,342 --> 01:57:49,311
SAYING. NOW, WHO SHOULD WIN?
I'M GOING TO GO WITH ANGELA
1823
01:57:49,311 --> 01:57:52,248
BASSETT.
I THINK IT IS DUE TIME THAT SHE
1824
01:57:52,248 --> 01:57:56,252
HAS THAT STATUE.
NOW, WHO COULD WIN?
1825
01:57:56,252 --> 01:57:59,522
STEPHANIE HSU WAS INCREDIBLE,
BUT IF THERE IS GOING TO BE
1826
01:57:59,522 --> 01:58:02,491
ANYONE BESIDES ANGELA, IT WILL
BE JAMIE LEE CURTIS.
1827
01:58:02,491 --> 01:58:05,294
THERE'S BEEN A LOT OF MOMENTUM
FOR HER.
1828
01:58:05,294 --> 01:58:06,629
>> CLAYTON, YOUR PICKS?
1829
01:58:06,629 --> 01:58:09,598
>> THE MOST WIDE OPEN RACE OF
THE NIGHT.
1830
01:58:09,598 --> 01:58:13,436
KERRY CONDON I BELIEVE IS GOING
TO WIN THIS ONE FOR "THE
1831
01:58:13,436 --> 01:58:18,240
BANSHEES OF INISHERIN."
IT'S THE ONE THAT PEOPLE LOVE.
1832
01:58:18,240 --> 01:58:23,245
INTERNATIONAL VOTE AGAIN.
STEPHANIE HSU, IT WOULD BE --
1833
01:58:23,245 --> 01:58:27,516
SHE'S AN INCREDIBLE PERFORMANCE.
BUT THE DARK HORSE, JAMIE LEE
1834
01:58:27,516 --> 01:58:29,218
CURTIS. SHE COULD PULL IT OFF.
1835
01:58:29,218 --> 01:58:33,222
>> NO ANGELA BASSETT FOR YOU?
1836
01:58:33,222 --> 01:58:37,526
>> NO.
LISTEN, IN A JUST WORLD.
1837
01:58:37,526 --> 01:58:40,362
BUT HER MOVIES FACE A LOT OF
BIASES.
1838
01:58:40,362 --> 01:58:44,500
>> PROVEN BY HER BEING THE FIRST
MARVEL ACTOR TO BE NOMINATED FOR
1839
01:58:44,500 --> 01:58:45,468
AN OSCAR.
1840
01:58:45,468 --> 01:58:50,506
>> YOU MADE THIS EVEN MORE
COMPETITIVE. THANKS TO YOU BOTH.
1841
01:58:50,506 --> 01:58:53,709
WHEN WE COME BACK, WE'LL HEAR
FROM THE ACTOR WHO SAYS HIS
1842
01:58:53,709 --> 01:58:57,546
CAREER WAS DEAD FOR YEARS AFTER
HIS EARLY SUCCESS AS A CHILD
1843
01:58:57,546 --> 01:58:59,548
STAR.
BUT TONIGHT, HE'S A VERY HAPPY
1844
01:58:59,548 --> 01:59:01,383
OSCAR NOMINEE. STAY WITH US.
1845
01:59:12,428 --> 01:59:17,366
>>> OF COURSE, THE CARPET IS NOT
RED THIS YEAR, BUT IT'S ABOUT TO
1846
01:59:17,366 --> 01:59:20,503
GET RED HOT AS THE BIGGEST STARS
ARRIVE AT THE 95th ANNUAL
1847
01:59:20,503 --> 01:59:22,638
ACADEMY AWARDS.
WE ARE LIVE OUTSIDE THE DOLBY
1848
01:59:22,638 --> 01:59:25,541
THEATRE FEELING THE EXCITEMENT
GROW.
1849
01:59:25,541 --> 01:59:30,513
>> THE CHAMPAGNE CARP ETD.
THEY'VE BEEN ALL OFFER, SO IT'S
1850
01:59:30,513 --> 01:59:33,449
PRISTINE ON THE CARPET TODAY.
WELCOME BACK TO OUR ABC COVERAGE.
1851
01:59:33,449 --> 01:59:35,584
WE ARE THE OFFICIAL HOME OF THE
OSCARS, OF COURSE.
1852
01:59:35,584 --> 01:59:39,488
SO DON'T CHANGE THE CHANNEL ON
THIS OSCAR SUNDAY.
1853
01:59:39,488 --> 01:59:42,424
RIGHT NOW, WE TURN TO THE RACE
1854
01:59:42,424 --> 01:59:48,664
FOR BEST SUPPORTING ACTOR.
1855
01:59:48,664 --> 01:59:53,369
FEATURING FOUR FIRST-TIME
NOMINEES AND ONE VETERAN WHO HAS
1856
01:59:53,369 --> 01:59:55,538
BEEN HERE BEFORE.
1857
01:59:55,538 --> 01:59:58,340
♪
1858
01:59:58,340 --> 02:00:02,645
>> I DON'T WANT TO HURT YOUR
FEELINGS, BUT I DON'T LIKE YOU.
1859
02:00:02,645 --> 02:00:06,649
IT FEELS LIKE THIS IS THE ONLY
OPTION LEFT OPEN TO ME.
1860
02:00:06,649 --> 02:00:11,387
>> YOU HAVE LOADS OF OPTIONS LET
OPEN TO YOU.
1861
02:00:11,387 --> 02:00:15,758
>> ART IS NO GAME.
ART IS AS DANGEROUS AS A LION'S
1862
02:00:15,758 --> 02:00:23,432
MOUTH.
IT WILL BITE YOUR HAND OFF.
1863
02:00:34,510 --> 02:00:39,481
>> YOU PROBABLY WOULD NEVER WANT
TO, I DON'T KNOW, FALL IN LOVE
1864
02:00:39,481 --> 02:00:45,554
WITH A BOY LIKE ME, WOULD YOU?
1865
02:00:45,554 --> 02:00:49,491
>> I JUST REMEMBER LOOKING IN
HER EYES.
1866
02:00:49,491 --> 02:00:54,430
IT WAS LIKE SHE WAS SAYING, BYE.
1867
02:00:54,430 --> 02:00:59,501
SEE YOU LATER.
1868
02:00:59,501 --> 02:01:01,470
>> SO MANY GREAT PERFORMANCES
THIS YEAR.
1869
02:01:01,470 --> 02:01:05,741
AND ONE OF THOSE NOMINEES,
ALREADY HAVING A GREAT AWARDS
1870
02:01:05,741 --> 02:01:10,779
SEASON IS KE HUY QUAN, THE
TALENTED ACTOR WHO PLAYS THE
1871
02:01:10,779 --> 02:01:12,848
BELEAGUERED HUSBAND IN THE FILM
"EVERYTHING EVERYWHERE ALL AT
1872
02:01:12,848 --> 02:01:14,817
ONCE."
HERE HE IS WITH KELLY CARTER.
1873
02:01:14,817 --> 02:01:18,420
>> KE, CONGRATULATIONS ON THE
OSCAR NOMINATION.
1874
02:01:18,420 --> 02:01:20,522
>> THANK YOU, THANK YOU, THANK
YOU.
1875
02:01:20,522 --> 02:01:22,625
I CANNOT BELIEVE I'M AN OSCAR
1876
02:01:22,625 --> 02:01:32,434
NOMINATED ACTOR!
1877
02:01:32,434 --> 02:01:37,907
>> YOU MAY BE IN GRAVE DANGER.
NO TIME TO EXPLAIN. HOLD THIS.
1878
02:01:37,907 --> 02:01:39,441
>> WHAT ARE YOU DOING?
1879
02:01:39,441 --> 02:01:40,476
>> PAY ATTENTION.
1880
02:01:40,476 --> 02:01:44,513
>> OH, MY GOD, EVER SINCE THE
MOVIE CAME OUT, THIS WHOLE
1881
02:01:44,513 --> 02:01:47,850
JOURNEY HAS BEEN SO EMOTIONAL.
I GOT EVERYTHING I WANT, LANDING
1882
02:01:47,850 --> 02:01:51,654
THIS ROLE, BEING IN A MOVIE WITH
MICHELLE YEOH.
1883
02:01:51,654 --> 02:01:55,491
THE AUDIENCE RESPONDING WITH SO
MUCH POSITIVITY AND KINDNESS
1884
02:01:55,491 --> 02:01:58,761
WITH MY RETURN, AND NOW THIS
IS -- WOW, I'M SO GRATEFUL.
1885
02:01:58,761 --> 02:02:01,630
>> WHAT DOES THIS MOMENT FEEL
LIKE FOR YOU, ESPECIALLY AT THIS
1886
02:02:01,630 --> 02:02:02,698
POINT IN YOUR CAREER?
1887
02:02:02,698 --> 02:02:05,935
>> YOU KNOW, FIRST OF ALL, I
WASN'T EXPECTING THIS.
1888
02:02:05,935 --> 02:02:09,939
WHEN I GOT THE ROLE OF RAYMOND,
I WAS SO EXCITED.
1889
02:02:09,939 --> 02:02:14,510
IT WAS VERY A DREAM COME TRUE.
I ALREADY FELT LIKE I WON THE
1890
02:02:14,510 --> 02:02:16,578
LOTTERY.
TO BE ABLE TO DO THIS AGAIN, YOU
1891
02:02:16,578 --> 02:02:19,748
KNOW, STEPPING AWAY WAS PAINFUL
FOR ME.
1892
02:02:19,748 --> 02:02:25,788
SO TO BE ABLE TO BE BACK IN FRO
FRONT OF THE CAMERA AGAIN, I
1893
02:02:25,788 --> 02:02:29,491
DON'T WANT TO TAKE FOR GRANT IT
HOW THIS FEELS FOR ME.
1894
02:02:29,491 --> 02:02:32,895
>> TALK TO ME ABOUT STEPPING
AWAY.
1895
02:02:32,895 --> 02:02:36,699
MAYBE IT'S NOT THAT YOU STEPPED
AWAY, BUT YOU DIDN'T SEE A LOT
1896
02:02:36,699 --> 02:02:39,868
OF OPPORTUNITIES FOR AN ACTOR
THAT LOOKED LIKE YOURSELF.
1897
02:02:39,868 --> 02:02:41,537
WHAT HAPPENED TO YOU?
1898
02:02:41,537 --> 02:02:43,772
>> I WAS LUCKY WHEN I STARTED MY
CAREER.
1899
02:02:43,772 --> 02:02:48,644
STEVEN SPIELBERG GAVE ME NOT
ONE, BUT TWO AMAZING MOVIES.
1900
02:02:48,644 --> 02:02:53,849
"INDIANA JONES" AND "THE
GOONIES."
1901
02:02:53,849 --> 02:02:55,751
I THOUGD I HT I WOULD HAVE AN
AMAZING CAREER AFTER THAT.
1902
02:02:55,751 --> 02:02:57,820
BUT I HAD TWO THINGS GOING
AGAINST ME.
1903
02:02:57,820 --> 02:03:01,757
ONE, IT'S DIFFICULT TO
TRANSITION FROM A CHILD TO ADULT
1904
02:03:01,757 --> 02:03:05,594
ACTOR.
AND SECOND, BACK THEN, BEING AN
1905
02:03:05,594 --> 02:03:08,664
ASIAN ACTOR WAS VERY DIFFICULT,
BECAUSE THERE WAS JUST NOT A LOT
1906
02:03:08,664 --> 02:03:13,936
OF OPPORTUNITIES FOR US.
WHEN EVERYONE IN THEIR LATE
1907
02:03:13,936 --> 02:03:18,574
TENS AND EARLY 20s AND THE
WHOLE FUTURE IS AHEAD OF THEM,
1908
02:03:18,574 --> 02:03:20,943
ALL I SAW FOR MYSELF WAS A DEAD
END.
1909
02:03:20,943 --> 02:03:23,746
THERE WAS NO ROLE FOR ME TO GO
ANY FURTHER.
1910
02:03:23,746 --> 02:03:27,683
THAT WAS A VERY CONFUSING TIME.
I WAS SO LOST.
1911
02:03:27,683 --> 02:03:33,655
I DIDN'T KNOW WHAT WAS GOING TO
HAPPEN. YOU KNOW, I WAS VERY
1912
02:03:33,655 --> 02:03:36,058
DISSPIRITED.
STEPPING AWAY WAS MY ONLY CHOICE.
1913
02:03:36,058 --> 02:03:38,961
>> WHAT WAS IT LIKE WHEN YOU GOT
THE CALL FOR THIS ROLE?
1914
02:03:38,961 --> 02:03:42,664
WHAT DID THAT FEEL LIKE FOR YOU?
DID THAT FEEL LIKE A WELCOME
1915
02:03:42,664 --> 02:03:42,765
BACK?
1916
02:03:42,765 --> 02:03:45,667
>> IT WAS ONE OF THE GREATEST
DAYS OF MY LIFE.
1917
02:03:45,667 --> 02:03:48,670
IT WAS THE BEST PHONE CALL THAT
I'VE EVER GOTTEN IN THE LAST 30
1918
02:03:48,670 --> 02:03:53,942
YEARS.
I WAS SCREAMING AT THE TOP OF MY
1919
02:03:53,942 --> 02:03:57,780
LUNGS, JUMPING UP AND DOWN.
MY WIFE WAS IN THE NEXT ROOM.
1920
02:03:57,780 --> 02:04:00,682
SHE CAME RUNNING IN, NOT KNOWING
WHAT WAS GOING ON.
1921
02:04:00,682 --> 02:04:04,953
I WAS ON THE PHONE WITH MY
AGENT, AND MY "GOONIES" BROTHER,
1922
02:04:04,953 --> 02:04:07,756
JEFF COHEN.
THEY WERE TELLING ME THE GOOD
1923
02:04:07,756 --> 02:04:09,958
NEWS.
SHE CAME RUNNING IN, AND THE
1924
02:04:09,958 --> 02:04:15,064
MINUTE SHE SAW ME, I HAD -- I
HAD TEARS COMING DOWN BY EYES.
1925
02:04:15,064 --> 02:04:17,866
WE DIDN'T EVEN HAVE TO SPEAK ONE
WORD.
1926
02:04:17,866 --> 02:04:19,835
SHE CAME OVER AND GAVE ME THE
BIGGEST HUG.
1927
02:04:19,835 --> 02:04:24,006
SHE ALREADY KNEW THAT I GOT THE
ROLE. AND HERE I AM.
1928
02:04:24,006 --> 02:04:27,576
>> YES, HERE YOU ARE.
THE VICTORY HAS ALREADY
1929
02:04:27,576 --> 02:04:29,678
HAPPENED, BECAUSE YOU'RE HERE
WITH THIS NOMINATION.
1930
02:04:29,678 --> 02:04:34,917
IT'S AMAZING AND PEOPLE ARE
CELEBRATING YOU WHEREVER YOU GO.
1931
02:04:34,917 --> 02:04:38,020
BUT IF YOU WIN THE OSCAR FOR
THIS ROLE, WHAT WILL THAT SAY TO
1932
02:04:38,020 --> 02:04:39,955
YOU AND WHAT WILL THAT MEAN FOR
YOU?
1933
02:04:39,955 --> 02:04:44,693
>> OH, MY GOSH, I HAVEN'T GIVEN
THAT A THOUGHT YET, AND I DON'T
1934
02:04:44,693 --> 02:04:49,631
WANT TO GET AHEAD OF MYSELF.
BUT TO BE COMPLETELY HONEST,
1935
02:04:49,631 --> 02:04:53,802
GETTING THIS NOMINATION WAS SUCH
A HUGE WIN.
1936
02:04:53,802 --> 02:04:57,706
THINGS ARE SO DIFFERENT FOR ME
NOW THAN THEY WERE WHEN I WAS
1937
02:04:57,706 --> 02:05:00,876
MUCH, MUCH YOUNGER.
THIS YEAR ESPECIALLY.
1938
02:05:00,876 --> 02:05:06,715
WE GOT FOUR ASIAN ACTORS BEING
NOMINATED IN MAJOR ACTING CAT
1939
02:05:06,715 --> 02:05:14,623
GOIS -- CAT GOEGORCATEGORIES.
1940
02:05:14,623 --> 02:05:16,658
IT ENFORCES MY LEAF THAT CHANGE
CAN HAPPEN.
1941
02:05:16,658 --> 02:05:19,027
I'M SO GRATEFUL TO EVERYONE THAT
CONTRIBUTED TO THIS CHANGE.
1942
02:05:19,027 --> 02:05:22,631
>> IF JUST HEARING THAT HE GOT
THE ROLE WAS ONE OF THE BEST
1943
02:05:22,631 --> 02:05:25,801
DAYS OF HIS LIFE, IMAGINE WHAT
TONIGHT FEELS LIKE.
1944
02:05:25,801 --> 02:05:27,202
KELLY'S BACK WITH US WITH CHRIS
CONLEY.
1945
02:05:27,202 --> 02:05:32,674
TELL US, IS THIS DREAM FOR KE
HUY QUAN ABOUT TO GET EVEN
1946
02:05:32,674 --> 02:05:33,041
BETTER TONIGHT?
1947
02:05:33,041 --> 02:05:39,748
>> I MEAN, I HOPE SO.
WATCHING THAT SEGMENT AGAIN GOT
1948
02:05:39,748 --> 02:05:44,653
ME ALL EMOTIONAL ALL OVER AGAIN.
I WANT TO SEE HIM WALK AWAY WITH
1949
02:05:44,653 --> 02:05:45,053
THE WIN TONIGHT.
1950
02:05:45,053 --> 02:05:50,025
>> JUST A PHENOMENAL INTERVIEW
BY KELLEY BY THE WAY.
1951
02:05:50,025 --> 02:05:54,062
I FEEL LIKE I'M SNEEZING IN THE
PUNCH BOWL HERE.
1952
02:05:54,062 --> 02:05:56,932
YOU CAN LOVE HIS JOURNEY AND
PERFORMANCE, YOU CAN LOVE
1953
02:05:56,932 --> 02:06:00,002
EVERYTHING THAT HE'S BROUGHT TO
THIS OSCARS SEASON AND STILL
1954
02:06:00,002 --> 02:06:03,372
THINK THAT BARRY KEOGHAN FROM
"THE BANSHEES OF INISHERIN" GAVE
1955
02:06:03,372 --> 02:06:07,809
THE BEST PERFORMANCE, AND WILL
WIN THE OSCAR FOR BEST
1956
02:06:07,809 --> 02:06:10,145
SUPPORTING ACTOR, WHICH IS WHAT
I BELIEVE.
1957
02:06:10,145 --> 02:06:13,148
HIS SCENE WITH KERRY CONDON IS
ONE OF THE BEST SCENES IN MOVIES
1958
02:06:13,148 --> 02:06:17,886
ALL YEAR, AND THIS ACADEMY WILL
SHOCK THE WORLD AND ACKNOWLEDGE
1959
02:06:17,886 --> 02:06:18,687
THAT TONIGHT.
1960
02:06:18,687 --> 02:06:26,094
>> I KNEW YOU WERE GOING TO DO
THAT. FOR ME, IT'S KEOGHAN.
1961
02:06:26,094 --> 02:06:30,732
IF ANYONE ELSE COULD COME THIS
THERE AS A DARK HORSE, IT WOULD
1962
02:06:30,732 --> 02:06:43,078
BE BRIAN TYREE HENRY.
1963
02:06:43,078 --> 02:06:52,087
>> YHE DID CERAMICS ON "THE
1964
02:06:52,087 --> 02:06:52,254
BULLETTRAIN."
1965
02:06:52,254 --> 02:06:57,960
>> I JUST GOT TO SAY, KELLEY,
EVERY TIME KE OPENS HIS MOUTH,
1966
02:06:57,960 --> 02:07:00,963
IT'S SO INSPIRING WHEN HE TALKS
ABOUT HIS JOURNEY.
1967
02:07:00,963 --> 02:07:03,999
HOW DID YOU KEEP A DRY EYE WHEN
YOU WERE TALKING TO HIM?
1968
02:07:03,999 --> 02:07:06,768
>> IT WAS HARD.
HONESTLY, I PROBABLY, OVER THE
1969
02:07:06,768 --> 02:07:09,938
COURSE OF MY CAREER, HAVE ONLY
SHED A TEAR MAYBE TWO OR THREE
1970
02:07:09,938 --> 02:07:12,874
TIMES ON INTERVIEWING SOMEBODY.
THIS IS ONE OF THOSE TIMES FOR
1971
02:07:12,874 --> 02:07:15,978
SURE.
IT WAS VERY, VERY DIFFICULT NOT
1972
02:07:15,978 --> 02:07:18,080
TO BE EMOTIONAL WITH HIM,
ESPECIALLY HEARING ABOUT HIS
1973
02:07:18,080 --> 02:07:21,016
JOURNEY AND WHAT IT WAS LIKE
GETTING HERE AND HOW EXCITED HE
1974
02:07:21,016 --> 02:07:23,185
WAS TO BE THERE.
AND THEN SEEING HIM IN THE ROOM
1975
02:07:23,185 --> 02:07:27,823
WITH ALL THE OTHER FAMOUS
NOMINEES, TRYING TO GET A SELFIE
1976
02:07:27,823 --> 02:07:29,958
WITH HIM.
THAT WAS ALSO INCREDIBLE.
1977
02:07:29,958 --> 02:07:31,927
PEOPLE SEE HIM AS A SUPERSTAR
THIS SEASON.
1978
02:07:31,927 --> 02:07:34,029
>> GOING TO BE A BIG MOMENT,
GUYS.
1979
02:07:34,029 --> 02:07:40,969
>> I'M A FAN.
I KNOW WE WOULD LIKE TO SEE A
1980
02:07:40,969 --> 02:07:42,137
SPEECH TONIGHT.
1981
02:07:42,137 --> 02:07:47,276
>> THANKS TO THE BOTH OF YOU.
WE ARE NOT DONE WITH OUR OSCARS
1982
02:07:47,276 --> 02:07:49,211
PREDICTIONS.
WHEN WE RETURN, WE'LL FIND OUT
1983
02:07:49,211 --> 02:07:51,313
WHICH FILM IS FAVORED TO TAKE
HOME THE BIGGEST PRIZE OF THE
1984
02:07:51,313 --> 02:07:53,949
NIGHT. STICK AROUND.
1985
02:08:04,092 --> 02:08:08,230
♪
1986
02:08:08,230 --> 02:08:11,833
>>> BACK NOW ON THE RED CARPET
HERE AT THE DOLBY THEATRE IN
1987
02:08:11,833 --> 02:08:14,036
HOLLYWOOD, AS WE COUNT DOWN TO
TONIGHT'S OSCARS.
1988
02:08:14,036 --> 02:08:16,271
ALL THE EXCITEMENT IS BEING
BROAD CAST TO YOU LIVE RIGHT
1989
02:08:16,271 --> 02:08:18,940
HERE ON ABC, LEADING UP TO
TONIGHT'S BIG SHOW.
1990
02:08:18,940 --> 02:08:21,943
>> IT IS TIME FOR US TO TALK
ABOUT THE BIGGEST PRIZE OF THE
1991
02:08:21,943 --> 02:08:24,146
NIGHT.
IT'S ALL BEEN LEADING UP TO THIS.
1992
02:08:24,146 --> 02:08:28,250
BEST PICTURE, WE'RE BRINGING ALL
THE CONTRIBUTORS BACK TO ONE
1993
02:08:28,250 --> 02:08:30,952
PLACE.
LET'S REMIND EVERYONE OF THE TEN
1994
02:08:30,952 --> 02:08:32,821
NOMINATED FILMS.
1995
02:08:32,821 --> 02:08:35,891
>> WITH THE TIME WE HAVE LIST,
LET'S JUST CUT TO THE CHASE.
1996
02:08:35,891 --> 02:08:38,260
WHO IS GOING TO TAKE HOME BEST
PICTURE?
1997
02:08:38,260 --> 02:08:40,796
>> "EVERYTHING EVERYWHERE ALL AT
ONCE," PERIOD.
1998
02:08:40,796 --> 02:08:43,932
THAT IS WHO IS WINNING.
1999
02:08:43,932 --> 02:08:46,835
>> "ALL QUIET ON THE WESTERN
FRONT" AND A BIG SURPRISE,
2000
02:08:46,835 --> 02:08:51,239
LOOKING FOR THE AUDIENCE THAT
ISN'T GOING TO VOTE FOR
2001
02:08:51,239 --> 02:08:55,177
"EVERYTHING EVERYWHERE ALL AT
ONCE." I SEE THE FOLKS MY AGE WHO
2002
02:08:55,177 --> 02:08:58,246
COULDN'T HANDLE ALL THAT TIKTOK
STUFF IN "EVERYTHING EVERYWHERE
2003
02:08:58,246 --> 02:08:58,413
ALL AT ONCE."
2004
02:08:58,413 --> 02:09:02,951
>> I'M WITH MY GIRL, KELLEY
CARTIER, "EVERYTHING EVERYWHERE
2005
02:09:02,951 --> 02:09:03,118
ALL AT ONCE."
2006
02:09:03,118 --> 02:09:08,123
>> "EVERYTHING EVERYWHERE ALL AT
ONCE," BUT ALSO "TOP GUN:
2007
02:09:08,123 --> 02:09:08,256
MAVERICK."
2008
02:09:08,256 --> 02:09:11,993
>> I'M GOING WITH THE GIRLS,
"EVERYTHING EVERYWHERE ALL AT
2009
02:09:11,993 --> 02:09:12,260
ONCE," ALL FOR THE WIN.
2010
02:09:12,260 --> 02:09:18,200
>> EXACTLY.
2011
02:09:18,200 --> 02:09:22,037
>> I LIKE "TOP GUN" AS A SLEEPER
PICK, BUT I'M GOING "EVERYTHING
2012
02:09:22,037 --> 02:09:22,270
EVERYWHERE ALL AT ONCE."
2013
02:09:22,270 --> 02:09:26,908
>> I THINK IT'S "EVERYTHING
EVERYWHERE ALL AT ONCE" TOO.
2014
02:09:26,908 --> 02:09:30,245
WE WANT TO THANK OUR
CONTRIBUTORS, AS ALWAYS, FOR
2015
02:09:30,245 --> 02:09:33,215
JOINING US.
WE'LL SEE WHO IS RIGHT TONIGHT.
2016
02:09:33,215 --> 02:09:37,252
>> OF COURSE, OUR COVERAGE
CONTINUES HERE ON ABC TELEVISION
2017
02:09:37,252 --> 02:09:42,224
IN JUST 30 MINUTES.
WE'RE BACK LIVE FOR TWO MORE
2018
02:09:42,224 --> 02:09:46,161
HOURS ON ABC NEWS LIVE.
WE'RE EXPECTED TO HAVE LIVE
2019
02:09:46,161 --> 02:09:48,230
INTERVIEWS WITH SEVERAL NOMINEES.
DON'T MISS THAT.
2020
02:09:48,230 --> 02:09:52,367
WHEN THAT ENDS AT 6:30 P. M.,
SWITCH BACK OVER TO ABC
2021
02:09:52,367 --> 02:09:56,304
TELEVISION FOR THE PRESHOW,
WHICH LEADS RIGHT INTO TONIGHT'S
2022
02:09:56,304 --> 02:09:58,440
TELECAST OF THE 95th ANNUAL
ACADEMY AWARDS.
2023
02:09:58,440 --> 02:10:03,145
>> FOR NOW, WE WANT TO THANK YOU
ALL AT HOME FOR JOINING US.
2024
02:10:03,145 --> 02:10:07,949
ON BEHALF OF WHIT JOHNSON AND
OUR CREW HERE AT ABC NEWS, I
2025
02:10:07,949 --> 02:10:10,118
FILE LIKE WE SHOULD DO A LITTLE
TOAST.
2026
02:10:10,118 --> 02:10:12,154
>> FROM THE CHAMPAGNE CARPET.
2027
02:10:12,154 --> 02:10:18,093
>> GUYS, THANK YOU SO MUCH.
HAVE A WONDERFUL OSCARS SUNDAY.
2028
02:10:40,182 --> 02:11:00,368
♪
2029
02:11:00,368 --> 02:11:22,390
♪
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